Pocket Full of Posies

Pocket Full of Posies

By

Kendall Oliphant

EXT. COURT YARD-INNER CITY-HAMILTON, ONTARIO-2004 AD--DAY

FADE IN:

HIGH ANGLE-A group of children, standing in a circle, playing a game. In the center circle a LITTLE GIRL points her finger from one child to the other in rhythm with the chant

LITTLE GIRL
Ring around the Rosie, a pocket full of posies, husha, husha, we all fall down

The LITTLE GIRL gestures to one of her playmates and they fall onto the grass

LITTLE GIRL
You're all dead

The children laugh and the game continues

LITTLE GIRL
(Chants)
Ring around the Rosie, a pocket full of posies, husha, husha, we all fall down

During the chant, we pan off, past two smoke stacks belonging to a steel mill (Revealing that we are in a courtyard shared by a group of apartment buildings). We continue to climb the face of the tenement block to show a balcony with rugs draped over the railing to dry. A PREGNANT WOMEN appears, carrying a basket of laundry, she becomes annoyed when she hears the children and leans over the balcony and shouts down at the children.

PREGNANT WOMEN
Will you stop that singing...?!

But the chanting continues

PREGNANT WOMEN
(Muttering to herself)
They are trying to drive me insane

She walks off carrying her basket, after a moment, the chant continues

LITTLE GIRL
(Chants,)
Ring around the Rosie, a pocket full of posies, husha, husha, we all fall down

We hold on the empty balcony for a long moment and then,

CUT TO:

INT. THE TENEMENT APARTMENT -- DAY
(PREGNANT WOMEN, MRS. MARIANO)

The front door of one of the apartments. The PREGNANT WOMEN with a rolled area rug, struggles up the stairs and rings the bell. The door open and a tired, un-kept, middle aged women appears. It is MRS. MARIANO. Behind her, we see a KITCHEN. The PREGNANT WOMEN hands the women the rug and wearily wipes her brow.

PREGNANT WOMEN
(Flustered)
Christ!

MRS. MARIANO
What's the matter?

PREGNANT WOMEN
I keep telling those damn kids to stop singing that damn murderer's song... But they keep singing it...screaming at the top of their voices all day...
(Pause)
As if we haven't had enough of that sick bastard

MRS. MARIANO
It's not the kid's fault, it's only a nursery rhyme to them, as long as they're singing, we know they're still there

PREGNANT WOMEN
Yes, I suppose you're right

The PREGNANT WOMEN shuts the door for MRS. MARIANO, leaving her alone in her apartment with the rugs. MRS. MARIANO puts the rug in the corner of her poor but clean kitchen, next to a basket of laundry. She sits down at a small table and begins to fold the laundry. A clock chimes, MRS. MARIANO looks up at the clock, which shows midday the ringing of a church bell mingles with the chimes. MRS. MARIANO smiles, straightens up, and proceeds to pour a cup of tea.

CUT TO:

EXT. CITY STREET -- DAY
(ANNA, GUARD, LITTLE GIRL)

A group of parents waits on the pavement outside the main entrance to the local school. Cars pass. The bell stops ringing as the children come out; one little girl waves and goes off in a different direction from her friends. It is ANNA MARIANO; she comes to cross the road. She steps off the curb without looking, a car honks at her and she hurriedly steps back onto the curb. The crossing guard stops the traffic and escorts her across.

CUT TO:

INT. MRS. MARIANO'S KITCHEN -- DAY
(MRS. MARIANO)

MRS. MARIANO sets the table for Anna's lunch

CUT TO:

EXT. ANOTHER CITY STREET -- DAY
(MURDERER, ANNA)

Anna walks along the pavement of a busy sidewalk bouncing a tennis ball. She stops by a walled up department store used as a billboard and starts throwing her ball against it. We follow the ball and move in to show one of the posters:

$100,000 Dollar Reward

Who is the Murderer?

Since Monday, June 11th of this year,

The following have disappeared:

The school children Kevin Ashton

And his sister Susan, who live

At 1470 Barton Street

Various evidence leads us to believe the

Children were victims of a similar

Crime to that committed last

Autumn against the Podesky sisters.

As the ball continues to bounce against the poster, the shadow of a man in a ball cap falls across the wall: It is the shadow of the MURDERER

MURDERER
You throw well

The shadow bends down

MURDERER
What's your name?

ANNA
Anna

CUT TO:

INT. MRS. MARIANO'S KITCHEN -- DAY
(MRS. MARIANO, LITTLE GIRL)

MRS. MARIANO stirs a pot of sauce. She looks at the clock, it reads 12:20pm. MRS. MARIANO puts the lid on the pot, she hears footsteps, goes to the door, opens it and looks up the stairs.

MRS. MARIANO
Anna didn't come home with you?

1ST LITTLE GIRL
No

2ND LITTLE GIRL
(Simultaneously)
No, she didn't come with us

MRS. MARIANO watches from the doorway, as the girls go up the stairs; then she looks down into the empty staircase well. MRS. MARIANO shakes her head and goes back into the apartment.

CUT TO:

EXT. STREET CORNER-HIGH ANGLE -- DAY
(ANNA, MURDERER)

A BEGGAR-- with a card in his hand reading

"I am Blind could you please help"

--stands on a corner holding a tin cup full of posies. The MURDERER leads ANNA past.

ANNA
I think I should go now, grandma will be mad if I am late

MURDERER
It will only take a minute

The MURDERER tosses a one dollar coin into the beggars cup, takes a flower and ushers ANNA past. The BEGGAR pockets the money.

CUT TO:

INT. MRS. MARIANO'S KITCHEN -- MOMENTS LATER
(GROCERY DELIVERY BOY, MRS. MARIANO)

MRS. MARIANO turns off the pot of tomato sauce. The doorbell rings. Visibly relieved, she rushes to open the door. On the doorstep stands the GROCERY DELIVERY BOY

GROCERY DELIVERY BOY
Hi Ms Mariano here is your order
(Hands her a box of groceries)

MRS. MARIANO
(Very wearily)
Thank you
(pause)
Oh...just a moment Tim

She takes the box and moves away. We stay on the GROCERY DELIVERY BOY

MRS. MARIANO
Tell me Tim...

GROCERY DELIVERY BOY
Yes?

MRS. MARIANO
Has Anna been into the store today?

GROCERY DELIVERY BOY
Can't say, I've been out delivering all morning, she isn't home yet?

Mrs. Mariano comes back to the door to pay the GROCERY DELIVERY BOY

MRS. MARIANO
No, it's not like her to come home without telling me

GROCERY DELIVERY BOY
Well, you know how kids are, I am sure she just got side tracked

He adjusts his ball cap and turns to go

GROCERY DELIVERY BOY
Good-bye, Ms Mariano

MRS. MARIANO
(Not reassured)
Good-bye Tim

She moves to shut the door but hesitates for a moment, then goes onto the landing and leans once again over the banister to pear down into the empty staircase well.

MRS. MARIANO
(Her voice echoing)
Anna! Anna!

Mrs. Mariano worried, goes back into her apartment, closes the door and looks at:

The clock-It's now 1:15pm. The clock chimes once

WIDE ANGLE-MRS. MARIANO'S KITCHEN -- CONTINUOUS
(MRS. MARIANO)

MRS. MARIANO alone. She picks up the phone and dials:

MRS. MARIANO
Hi, Joyce is Anna over there?
(Pause)
No thanks, no nothing

CUT TO:

INT. THE EMPTY STAIRCASE WELL -- MOMENTS LATER
(MRS. MARIANO)

MRS. MARIANO
Anna?

CUT TO:

INT. THE BASEMENT OF THE APARTMENT BUILDING -- MOMENTS LATER
(ANNA)

Anna! Anna!

CUT TO:

INT. THE KITCHEN TABLE -- MOMENTS LATER

Anna's empty chair, her clean plate, her spoon and her folded napkin

CUT TO:

EXT. FAR AWAY- A PATCH OF SCRUBBY GROUND -- LATER

From out of the undergrowth rolls ANNA's ball. It stops rolling

CUT TO:

EXT. ANNA'S BACK PACK -- CONTINUOUS

It lies open on the ground one strap broken, a piece of school work marked with an A+ hangs part way out of the bag until the wind shakes it free and blows it across the field, past a trampled poise.

FADE OUT:

EXT. CITY STREET -- EARLY EVENING
(ANOTHER)

FADE IN:

On a HIGH ANGLE of a sidewalk. A car sits parked at the curb. A man takes a paper from the box. Move into the headline on the paper:

"City In Fear As Another Child Found Dead"

CUT TO:

INT. THE MURDERER'S APARTMENT -- NIGHT
(MURDERER)

The Murderer sits at the window sill, his back to us, pasting letters cut out of a newspaper onto a sheet of paper. He takes a drag of a cigarette with his left hand.

INSERT-THE MURDERER'S LETTER

Since the police haven't published my first letter

I am writing today strait to the press Keep up your

Investigations Everything will happen just as I have

Predicted But I haven't finished yet

CUT TO:

EXT. CITY BAR -- NIGHT
(NEWSCASTER, MAN AT BAR, THE VOICE)

A news report comes over the television. The volume is turned down low as the bar patrons are indulged in idle conversation.

NEWSCASTER
Police need your help tonight to find the killer of a North end girl

We slowly pull back over the heads of the patrons sitting at the bar. General hubbub

MAN AT BAR
(To bartender)
Hey turn that up!
(To himself)
Christ! Here me go again...What are those damn cops waiting for...
(Annoyed at a loud patron nearby)
Hey buddy shut up! I want to hear this...I care about what's happening...

The sound of the patrons cross fades to the voice of the NEWSCASTER

NEWSCASTER
Certain evidence had led the police to believe that the murderer is possibly the same as the one responsible for the deaths of eight children in the surrounding area. We must once more draw your attention to the fact...

CUT TO:

INT. HIGH ANGLE-UP SCALE RESTAURANT -- NIGHT
(MAN, OLD WOMEN, OLD MAN, BALD MAN, OLD MAN'S WIFE, WAITER, WIFE OF BALD MAN, A WOMEN, ANOTHER)

A group of upper class men and women sit around finishing their meal and having cocktails

OLD MAN
...It is the responsibility of every mother and father to teach their children to be aware of the sickos in this city. If some bum offers them candy, run.

OLD WOMEN
True...

As the couple continue their banter, we see another couple at the table. A balding man wearing an up scale business suit; beside him a women twirls a glass of wine in her hand.

OLD MAN
If I were the cops I would have everyone of those bums on the street arrested

The BALDING MAN nudges his wife and they whisper to one another. The women rolls her eyes as the OLD MAN continues his rant

OLD MAN
How are the cops going to find this guy, he could be anywhere on the street, and what are we supposed to do?

The OLD MAN's companion opposite listens attentively.

OLD MAN
I mean eight murders and no one has seen this guy? I say arrest them all until they find the killer, forget their rights

The BALD MAN and his Wife stare with contempt at the OLD MAN

BALD MAN
Is that so?

HIGH ANGLE ON THE GROUP

OLD MAN
What is that supposed to mean?

BALD MAN
Who elected you moral cop?

OLD MAN
What's eating you?

BALD MAN
Listen to you
(Mocking)
These bums, they should be arrested, come on, how do I know it wasn't you who attacked these kids

OLD MAN
Hey, that's not funny

BALD MAN
I am not saying you'd do something like this, but look, you know how you talk. You see a picture of one of those young singers, and it's look at those tits, oh I'd love to fuck her, come on, it's not just people on the street who have sick ideas, it's people like us too.

OLD MAN
(Jumps up, shouting angrily)
What?! You're crazy, you dirty shit! You look at the pictures too

BALD MAN
(Also jumps up, shouting)
Who's sick me?! Yea I look, but I don't have porn on my computer at work, I've seen the photos, they look kind of young

In the excitement the OLD MAN spills his drink.

HIGH ANGLE OF THE WHOLE GROUP

OLD MAN
(Mad with rage)
I can't believe you, you're insane

BALD MAN
I tell it like it is

As the OLD MAN tries to punch his opponent, the women and the waiter intervene. General confusion.

OLD MAN'S WIFE
Guys forget about it we are all upset, lets go

They are separated

OLD MAN
I could sue your ass for slander

BALD MAN
Good luck

WAITER
Please gentlemen, calm down

WIFE OF BALD MAN
(To the waiter)
Sorry, we are leaving...

The head waiter, and the party of four go out. The OLD MAN continues to shout at his departing enemy.

OLD MAN
Don't try to ruin my reputation...You will be sorry

CUT TO:

INT. BED ROOM -- NIGHT
(MAN, OLD MAN, OLD MAN'S WIFE, OFFICER, POLICE OFFICER)

In a comfortable modern bungalow. The drawers of an antique Heywood Wakefield dresser have been pulled out and the contents scattered everywhere. Through the door we see a living room.

OLD MAN
That goddam lies! He is going to pay, trust me!

His WIFE appears at the doorway in tears

OLD MAN
And the cops listened to him!...They're tearing our house apart!

A policeman and the OLD MAN come through the door into the living room.

OLD MAN'S WIFE
(Weeping)
Why?

OLD MAN
Searching an honest mans home because of an anonymous letter. It's...It's

POLICE OFFICER
(Calmly)
Mister Jackson, calm down. We are only doing our duty

OLD MAN
We never have a minutes peace. We are frightened for our children...

POLICE OFFICER
Look, it's for that very reason, that the police have to follow every lead...Every lead is important

CUT TO:

EXT. CITY STREET -- NIGHT
(YOUNG PRE-TEEN GIRL, MAN, STORE EMPLOYEE, FIRST PASSER BY, SECOND PASSER BY, FEMALE SHOPPER, MALE SHOPPER)

In the street a MAN of about sixty, wearing a felt hat and glasses with thick black frames, stops under a street light to light a cigarette. A YOUNG Per-Teen GIRL approaches.

YOUNG PRE-TEEN GIRL
Excuse me, do you have a cigarette?

MAN
Sure, here

He takes out a pack of cigarettes and removes one. A few feet away, in front of a computer store, two shoppers waiting for their purchase look on. A STORE EMPLOYEE with huge wide shoulders, carrying a monitor, comes out of the shop notices the shoppers concern and begins to eye the MAN as...

...the YOUNG PER-TEEN GIRL stands with the MAN. The MAN notices the looks from the STORE EMPLOYEE

MAN
Maybe I can buy you a drink? Are you old enough to drink?

As the YOUNG ~PRE-TEEN GIRL walks away, the STORE EMPLOYEE interrupts.

STORE EMPLOYEE
Hey pal, she's just a kid

MAN
(Looking terrified)
Okay, I didn't know

The MAN looks up anxiously, scared. The STORE EMPLOYEE, walks over to him

STORE EMPLOYEE
What did you want with her?

MAN
(Startled)
But...but...nothing, sorry!

The STORE EMPLOYEE seizes his arm. The two people from the store gather around

STORE EMPLOYEE
(Seizing his arm)
Lets go inside

MAN
(Struggling)
Let go...Let me go...It's all...a...a mistake

The crowd grows by two as two PASSER BY'S join in.

FIRST PASSER BY
(To the MAN)
What's going on here?

MAN
(To PASSER BY)
This guys's crazy!

SECOND PASSER BY
(To the STORE EMPLOYEE off the MAN)
What did he want?

STORE EMPLOYEE
(To the OLD MAN)
Let's see what the cops think of a pervert

MAN
(Struggling)
Let me go, I didn't touch her

STORE EMPLOYEE
But you wanted to didn't you?

The two customers join in

FEMALE SHOPPER
(Violently)
Yea, then what?

MALE SHOPPER
Hang on to him, I'll call the cops

The MALE SHOPPER takes out a cell phone and phones nine eleven

CUT TO:

EXT. CITY STREET-STAIRS OF A PARKED BUS -- NIGHT
(DRIVER, THIEF, VARIOUS VOICES, OFFICER, MURDERER, POLICE OFFICER)

A group of people try to board the bus. The DRIVER comes down the stairs pushing through the people

DRIVER
Move aside please...stop blocking the way...I need to get through

Behind the driver, a police officer leads a thief

THIEF
(Insulting the Police Officer)
You're good at catching, pick pocket's...That's all you know how to do...You'd do better to go after the child murderer.

The people in the crowd closest to the front, over hear the thief mention the child murderer

VARIOUS VOICES
What? The child murderer? The murderer...
(Off the thief)
That's him...The murderer!

POLICE OFFICER
Step aside
(To the thief)
Come on now...Get a move on

Hysterical cries rise from the crowd. Fists are raised. The Police Officer and his prisoner have difficulty forcing their way through and become separated by the angry mob.

INT. MAYORS OFFICE -- DAY
(MAYOR)

CLOSE-HEADLINES

The daily paper, 'William Barns'--The front page of the Spectator: 'The Murderer's' Letter is reproduced:

'Since the police haven't published my first letter I am writing today strait to the newspaper keep up your investigations everything will happen just as I have predicted but I haven't finished!'

A hand nervously holds the newspaper

WIDER ANGLE--MAYORS OFFICE

The Mayor sits at his desk, the newspaper spread out before him. He speaks into a white telephone, emphasizing his points by gesturing with his hands

MAYOR
It's unacceptable...the public will have a field day with this, chief. Something has to be done, and quickly

CUT TO:

INT. POLICE HEADQUARTERS -- DAY
(CHIEF OF POLICE, HEAD OF FORENSCICS, GRAPHOLOGIST, ANOTHER)

In the office of the CHIEF OF POLICE, an eloquent man, sits at his desk. In one hand, he waves a pen; in the other, he holds the receiver of a black telephone

CHIEF OF POLICE
But mayor, we've no power to prevent the murderer from writing to anyone he wants to!

The mayor's reply is inaudible. A secretary passes some papers to the CHIEF OF POLICE and starts to leave. The CHIEF OF POLICE thanks the SECRETARY and the SECRETARY exits

CHIEF OF POLICE
(Into the phone)
The guilty person obviously gets pleasure out of seeing his actions reported in the papers. We have already contacted the Spectator and obtained the original letter. The laboratory is already busy on it

CLOSE--A SET OF FINGERPRINTS

In the POLICE LABORATORY, the file of a certain Richard Aaron, known as 'Four Fingered Aaron'. Pan across the file to show the prints of the left hand, next to the right

HEAD OF FORENSCICS
It won't be easy finding usable DNA on a letter that's been through so many hands

CLOSE--HANDS

Moving across a file

HEAD OF FORENSCICS
...But not impossible

IN ANOTHER ROOM...

...of the POLICE LABORATORY, a Fingerprint is magnified on a computer screen. In the foreground a POLICE TECHNICIAN, marks points on the scan of the fingerprint, compares the enlargement with the file

HEAD OF FORENSCICS
...to find in our data base of millions, a clue or trail that will lead us nearer a solution. Then we'll send the letter to the graphologist

OFFICE OF THE POLICE RECORDS

The GRAPHOLOGIST (A handwriting and paper expert) paces up and down dictating his report into a tape recorder

GRAPHOLOGIST
(Dictating)
From the particular tone of the letter, I conclude that the killer is a male with very strong suppressed needs, possibly including those of a sexual nature

CLOSE--SHOT OF THE LETTER

GRAPHOLOGIST
The meticulous way the letters are positioned indicates to me the killer plans out each of his murders carefully before he executes them.

CUT TO:

INT. THE MURDER'S APARTMENT -- DAY
(GRAPHOLOGIST, MURDERER)

The MURDERER looks at himself in the mirror and makes terrible faces

GRAPHOLOGIST
...He could well suffer from a compulsive disorder

The murder spreads his lips and with his fingers, stairs at himself

GRAPHOLOGIST
On the whole, the nature of the letter, shows clear signs of mental illness

The murderer, lips spread, rolls his eyes to one side for a gruesome effect

CUT TO:

INT. MAYORS OFFICE -- DAY
(MAYOR, CHIEF OF POLICE, ANOTHER, DETECTIVE)

MAYOR
Yes, yes chief...certainly. I don't doubt your efforts or that of your office...but, all the same...the results
(Annoyed)
We must have results...results

The sound of the MAYORS voice continues as we cut to the CHIEF OF POLICE'S OFFICE. During the following conversation the frustrated chief's voice continues as images illustrate his words.

EXT/INT. SEARCH MONTAGE-DAY/NIGHT

CHIEF OF POLICE
Mayor, my men and women are only getting twelve hours of sleep a week...

POLICE STATION

Several tired POLICE OFFICERS slump on chairs. As two come in off their shifts, another two start to get up to go

CHIEF OF POLICE
...on top of their regular case load, mayor, our man power is dangerously stretched to the limit. Our moral is taking a beating, but we are continuing to do our best

HOMICIDE SQUAD ROOM

The detectives sit around drinking coffee, eating and sleeping

CHIEF OF POLICE
The homicide detectives work relentlessly. They're sifting through thousands of pieces of evidence, no matter how small, knowing that even the tiniest clue could lead us to the killer. Mayor, consider their findings at the scene of the crime...

VARIOUS ANGLES--SUBURBAN GARDEN

Officers search everywhere. In the background are two photographers. A flash goes off! Behind a hedge, one of the officers finds a ball of paper.

CHIEF OF POLICE
...we find, for instance, behind a hedge in a thicket, a little tissue paper bag

CLOSE--A PAIR OF TWEEZERS

Carefully lifting the paper bag on which can be read the partial word 'BAK...'

CHIEF OF POLICE
...In a radius of twelve kilometres, we have...

CLOSE--MAP OF HAMILTON

The location where the bag was discovered is circled and dated 21-6. A compass draws a second larger circle dated 22-6; the same compass starts a third circle

CHIEF OF POLICE
...searched every bakery and deli to find out where the bag came from...in vane...everyday we widen the area of the search

BAKERY COUNTER

A detective questions the owner who shakes his head insistently and shrugs

CHIEF OF POLICE
...but of course, no one remembers anything...or, at least clearly enough...

DOUGHNUT SHOP

A detective questions a sales girl, without success

CHIEF OF POLICE
...In spite of all these negative replies we are keeping up the search, stepping more and more into an area of uncertainty

GROCERY STORE

A detective questions a manger and a clerk without success.

CHIEF OF POLICE
...without much hope of finding any solution my officers...

THE MAYORS OFFICE

The Mayor on the phone, interrupts

MAYOR
(Furious)
What good is that to me, Chief? I know you're not sleeping...but those are the facts: an unknown murderer terrorizes the city... a city of over half a million... and... the police, your police, are helpless. I want results!

THE OFFICE OF THE CHIEF OF POLICE

CHIEF OF POLICE
(Patiently)
Mayor, you don't really seem to appreciate the incredible difficulties which face us...
((opening a folder on his desk) ))
Only on the way home of the missing child, we got fifteen different testimonies. Just listen:
(reads from a folder)
Testimony 1478 in the Mariano case...

CUT TO:

INT. POLICE HEADQUARTERS-OFFICE -- DAY
(DETECTIVE, ANOTHER, OFFICER, THE OFFICER)

A detective questions two witnesses. One so large and fat, he wears a goatee. The other is short. In the background, is another officer taking notes.

1ST WITNESS
(Indignantly to 2nd witness)
You don't know anything

2ND WITNESS
(Leaps from his chair)
More than you

DETECTIVE
Please sir, miss...could you at least come to some agreement on what colour shirt the little girl was wearing, when you saw her this morning, talking to an unknown man

1ST WITNESS
But of course, the shirt was red with the picture of Britney Spears on it

2ND WITNESS
Honey you must be colour blind, the shirt was green, and the picture was of Christine Augillara

1ST WITNESS
Sorry, how am I supposed to know, and the shirt was red

2ND WITNESS
Green, the shirt was green, officer, the same colour as my eyes

1ST WITNESS
In that case the shirt was definitely blood shot red

The WITNESSES stair each other down. The detective looks on amazed.

INTERCUT--EXTREME CLOSE-UP OF BOTH WITNESSES

2ND WITNESS
What the hell is that supposed to mean!

1ST WITNESS
You know what it means, your the one who is drunk all the time

GROUP SHOT--

The officer taking notes gets up

DETECTIVE
(To the officer)
Next witness

The OFFICER follows the 2ND WITNESS out

1ST WITNESS
(Waving his arms)
Of course Detective, if you are prepared to listen to a colour blind drunk...

The 1ST WITNESS shrugs and turns to go

CUT TO:

INT. OFFICE OF THE CHIEF OF POLICE -- DAY
(CHIEF OF POLICE)

The CHIEF OF POLICE is still on the phone

CHIEF OF POLICE
The police have followed up, as of today, more than three hundred clues in this case. The files we have collected fill three filing cabinets. We have put all our available officers on it...

CUT TO:

INT./EXT. ANOTHER SEARCH MONTAGE -- DAY/NIGHT
(CHIEF OF POLICE, THE VOICE, OFFICER, ANOTHER, DETECTIVE, PROSTITUTE)

Several police officers beating through the undergrowth of a wood. The voice of the Chief of Police continues over the scenes.

CHIEF OF POLICE
...to systematically comb all the areas. Every thicket, every piece of undergrowth, every clearing is carefully examined, because behind each bush...

Several police officers searching a wooded pit

CHIEF OF POLICE
...in every hole, we might find something that would put us at least on the right track...

A police dog as he picks up the scent and follows it to the edge of a hole, barking. A police officer follows him on a long leash. Other handlers and their dogs appear.

CHIEF OF POLICE
...we have sent our police dogs and some of the best trackers on loan from the OPP to this case-without ant results. Since this murderer's first crime...

Detectives checking the identities of some residences in a homeless shelter, where rows of mattresses face one another and old clothes hang from the wall.

CHIEF OF POLICE
The police have inspected every half way house and shelter and have ran background checks on every transient. Of course, these steps don't increase the popularity of the police , nor do they calm the nerves of the general public...

AIRPORT TERMINAL

Detectives check each passengers ticket and passport

CHIEF OF POLICE
...nevertheless, we are keeping up our watch on all bus terminals and the airport. But these checks are no more successful than our nightly searches

A DESERTED STREET--NIGHT

Lit by dim street lights. A plain clothes detective is accosted by a prostitute, but he goes on his way. Further on, under a street light another girl talks to a client.

CHIEF OF POLICE
...of the various less than desirable hang outs

HIGH ANGLE--A DARK STREET

Still wet from a recent rain. A couple disappear into a run down apartment over a bar. A detective in an unmarked car opposite, looks on

VARIOUS SHOTS--

The headlights of a car light up the walls. Two plain clothes detectives leap from the car. They abruptly walk the sidewalk nonchalantly as the car drives off. Their footsteps echo. Six police cars drive up and squeal to a halt at the curb. A dozen police officers jump from the cars and station themselves rapidly in various positions around the building. Three detectives wait in the doorway. One of them looks at his watch and gestures at the others. They move out of sight.

On the dark, wet street, a detective walks up to the middle of the street and gives a signal, --a hand raised. Up the street, uniformed police officers, waiting by their vehicles, spring into action, rushing off. A group of plain clothes detectives march down the street, past a bar, followed by uniformed officers drawn up in two rank. A few prostitutes exiting the apartment over the bar are rounded up and ushered away.

HIGH ANGLE--

Looking down over the roofs at a line of uniformed police officers and a group of detectives as they hold position outside the bar.

CUT TO:

INT. 'THE PARROT BAR' -- NIGHT
(PROSTITUTE, POLICE OFFICERS VOICE, VOICE, YOUNG PROSTITUTE, BARTENDER, OFFICER, SERGEANT, LAWSON, A VOICE, ANOTHER VOICE, EVERYONE, A PROSTITE, COP, VOICE OF COP, VOICE OF PROSTITUTE, THE GIRL, LEATHER GUY, LITTLE FAT MAN, POLICE OFFICER, THIEF, ALL, ANO

Down a staircase which leads from the street, a YOUNG PROSTITUTE rushes into a sordid basement bar. It is a dive of a bar known as 'The Parrot'. A stuffed parrot hangs from the ceiling.

PROSTITUTE
The cops!

Without wasting a second, the clients, prostitutes and seedy type rush for the exit, scrambling over the tables and chairs. The bar tender reaches under the counter and grabs a baseball bat. Everyone rushes for the stairs.

HIGH ANGLE--LOOKING DOWN THE EMPTY STAIRCASE

General chaos and confusion. The YOUNG PROSTITUTE appears first, followed by a thief who gives a sudden start and then turn back. Others pass him to be turned back. Police sirens. A line of police officers, advancing steadily, pushes the fleeing crowd back down the stairs.

POLICE OFFICERS VOICE
Police! Get back down the stairs

YOUNG PROSTITUTE'S VOICE
Let me go, you bastard! Let me go!

An officer descends the stairs, forcibly escorting the YOUNG PROSTITUTE. We track them until they stop at the bottom of the stairs, beneath the arch of the stairs.

YOUNG PROSTITUTE
Let me go! You son of a bitch!

BARTENDER
(Holding a baseball bat)
Leave the girl alone, you dirty pig or I will take your head off!

The YOUNG PROSTITUTE is released and exchanges words with the cop-punctuated by her spitting on him. General hubbub rising to a crescendo

POLICE OFFICER
Quiet!...Quiet!

Over the heads of all the crowd, a Sergeant appears

BARTENDER
Ah, the head pig

Laughter. With a gesture, the Sergeant demands silence

SERGEANT
Quiet

BARTENDER
You'd like that, wouldn't you?

On the stairs, in the dim light of the cellar, with the crowd of thugs and prostitutes at the bottom of the stairs, the Sergeant stands.

SERGEANT
Police orders..Nobody leaves this place..I have a warrant

Cries of protest and whistles from around the room. The sergeant stands in the entrance with one of his officers. It is the heavy set Sergeant Lawson. He pauses, his face still in darkness.

BARTENDER
Show your face, if you have the guts

He moves forward and stops a few steps from the bottom

LAWSON
Come on now, drop the bat, let's not do anything silly

BARTENDER
(Signaling the crowd)
Look it's fat ass Lawson!

A VOICE
(Chanting)
Fat ass! Fat ass!

ANOTHER VOICE
Need a women Lawson!

Several make a mock salute

EVERYONE
(In chorus)
Fat ass! Fat ass!

The chanting ends in whistles, Sergeant Lawson comes down to the last step and enters the light. A strong physical man about forty, he gives the impression of keen efficiency

LAWSON
Quiet!

BARTENDER
Get out!

LAWSON
You will wear yourself out!

BARTENDER
Shouldn't you be out catching the pervert

The crowd whistles

LAWSON
Quiet! This won't take long!

He steps forward. Several policeman follow him.

LAWSON
Spread out...Spread out all of you. All of you...spread out. Check all their id's

More detectives come down the stairs.

BARTENDER
I lost my wallet, sorry

LAWSON
Then maybe sometime in jail will help you remember where you left it

A PROSTITE
(Begging)
Ley me go, officer

In the rear of the Parrot, a seemingly empty corner with a coat hook, under a window

VOICE
Show me your id

High angle of an abandoned Parrot table, drinks, a ball cap on the floor

VOICE
I think we know each other...yes we do

The coat hook again

VOICE OF COP
Take her away

One of the thugs moves closer. More police descend the stairs

VOICE OF COP
Don't make any problems for yourself

By the coat hook, the thug waits for an opportunity.

VOICE OF PROSTITUTE
I am innocent

Glass breaks, the cops yell at someone. The thug, taking advantage of the distraction, quickly tries to flee through the window--but is stopped.

THE THUGS POV. LOW ANGLE--THROUGH A METAL GRATE WHICH LEADS UP TO THE STREET, HE SEES A POLICE OFFICER STANDING GUARD ABOVE.

VOICE OF COP
Shut up! Show me your id!

The THUG resignedly backs away and slump on the table and slaps it in disgust

VOICE OF COP
Relax, and you will be out of here in a minute

In the main cellar, Lawson and two of his men are installed behind two tables. In front of him stands a YOUNG PROSTITUTE. Uniformed officers form a corridor leading to the exit. In the background, the bartender and various occupants of the bar stand about.

LAWSON
Do you have a name?

THE GIRL
But, Sir, I am not carrying a purse and this dress has no pockets

LAWSON
(Indifferent)
I am not in the mood for jokes, darling

Between Lawson and one of his assistants. The girl stands beside an enormous thug, with a black eye, wearing a ball ca, a half smoked cigarette in his mouth, hands in his pockets. A row of police line the wall.

THE GIRL
(Indignantly)
Honest, I don't have any Id

LAWSON
(Severely)
Take her away

THE GIRL
This is false arrest

She's led off to the right. The black eyed thug steps forward. He takes out a wallet and very sure of himself, hands a drivers license to Lawson.

Lawson studies the drivers licence. Sceptically, he examines the owner. Another cop searches the thug. Lawson whistles 'Blue Eyes Crying in the Rain' and gives the thug a smug wink. Behind the group of thugs, surrounded by police. The police officer finishes the search and exits. The thug gives Lawson a cocky look of triumph. Lawson smiles and holds the drivers licence up to the light.

LAWSON
This is a bad fake, my friend...

The Thug, surprised, drops the cigarette from his mouth.

LAWSON
Sorry

A pause. Lawson signals to a police officer.

LAWSON
Take him away. Next

The Thug scowls

A greasy Mediterranean type steps forward, very smooth. He wears a floor length fur collared Italian leather coat. He nods his head in a smug way and takes out his Id.

Lawson looks at the Id and gives it back. Leather guy nods his head and prepares to leave. We track with him. Suddenly Lawson, using the but of his billy club, snags Leather Guys arm and pulls him back to him.

LEATHER GUY
(Astonished)
What's wrong?

LAWSON
Nice coat, new? Looks expensive? How would a punk like you afford such a coat, book him on possession of stolen property

LEATHER GUY
(Horrified)
What?

LAWSON
Next time take the tag from the inside off, next

Leather Guy doesn't move

LAWSON
Next!

Leather Guy is led away. Next in line is a LITTLE FAT MAN, nervous.

LAWSON
Come on Id?

LITTLE FAT MAN
I left it in the car, I'll go get it

LAWSON
Downtown, next!

The LITTLE FAT MAN is escorted out.

Two Police Officers search a corner of the room. They look under the tables, tip up the chairs and pry open a locked closet. One finds a hand gun, then a leather brief case. Insert of the brief case as it is opened, inside a small cache of marijuana and cash in one hundred dollar bills.

Things that have been confiscated are piled up, a jimmy bar, a lock punch, hand gun, box of bullets, cd's, silver trinkets, watches, wallets etc. A hand adds the leather brief case to the pile.

In the ladies room, a policeman enters, hesitates, knocks on one of the stalls, then breaks open the door. He gestures to someone inside. A YOUNG PUNK scared, comes out of his hiding place. The two exit.

The BARTENDER stands behind his bar talking to a SERGEANT

BARTENDER
This is ruining my business, Sergeant...Every night you are interfering. How can I make money?

SERGEANT
Is that supposed to be a joke?

BARTENDER
No...look...like it or not...I run a legit bar...the girls are escorts not hookers...the guys who come here want that sicko your looking for caught so much they'd...Look, the girls are scared to walk the streets, I care for them like I do my own children.

The Sergeant tries to keep a straight face as he leans on the bar.

BARTENDER
I know plenty of guys in here who have a soft spot for kids. If they catch that bastard
(makes a short, sharp gesture)
...they will kill him. Believe me

Another police officer comes up and taps on the Sergeants shoulder.

POLICE OFFICER
Everything's secure sir

The Sergeant nods and leaves with the officer

SERGEANT
(To the BARTENDER)
Good night

The BARTENDER watches them leave with a gesture of disgust.

CUT TO:

INT. SECOND FLOOR APARTMENT ACROSS FROM THE PARROT -- NIGHT
(STREET GANG MEMBER, MALE TEEN, TEEN WITH SIDEBURNS, TEEN, FEMALE TEEN, ALL, SCHREFF, A TEEN, LAWSON, EVERYONE, ANOTHER)

A teen dressed in blue stands by the window of a sparsely furnished apartment; he looks down at the street. He is a STREET GANG MEMBER

STREET GANG MEMBER'S POV-HIGH ANGLE

In the street, two police cars drive past, a patty wagon follows, LAWSON follows in his car.

The STREET GANG MEMBER still looks out the window.

STREET GANG MEMBER
So, the 'Parrot' got nailed tonight
(Turns into the room)
Again

He turns around. On a sofa, smoking a joint, lies a thin teen dressed in a basketball jersey and baggy pants, lounging beside him, his girl friend, tough but not very bright. Sharing his joint. The MALE TEEN gets up impatiently.

MALE TEEN
What's keeping Schreff?

A TEEN WITH SIDEBURNS sits at a table in the corner, practicing card dealing.

TEEN WITH SIDEBURNS
Don't know, he said he would be back at three

MALE TEEN
It's quarter after, probably stopped to visit his bitch

The FEMALE TEEN has sat down beside the TEEN WITH SIDEBURNS

TEEN WITH SIDEBURNS
Wish he would get back with the beer

STREET GANG MEMBER
(Disgusted)
There are more police on the street than us

The MALE TEEN sits up and extinguishes his roach into an ashtray overflowing with cigarette and joint butts.

MALE TEEN
Where ever you turn...nothing but cops

The STREET GANG MEMBER, lighting a joint, comes up to the table. A cheap lampshade hangs over everyone.

STREET GANG MEMBER
Even when you're with your women, they don't leave you alone... And they have gone nuts too...All they can think about is that murderer
(To the Teen with Sideburns)
...My girl's got a two year old kid and every night I worry, that scum is going to grab her

The TEEN WITH SIDEBURNS deals out two hands of five cards. The FEMALE TEEN discards two with a look of a pro. The TEEN WITH SIDEBURNS deals her another two.

STREET GANG MEMBER
You can't even get on with business. Everywhere you come across the cops. There's no privacy any more...I'm fed up

The MALE TEEN walks past the table, looking at his watch

TEEN WITH SIDEBURNS
(Bored)
What else is new?

He turns over his cards over. Four aces to the FEMALE TEENS two kings and two queens. The MALE TEEN slams his palms into the wall.

MALE TEEN
What's keeping Schreff?

STREET GANG MEMBER
Maybe the nabbed him

MALE TEEN
(Laughing)
Not him
(Rejoins the others)
He did a job up on the mountain and the cops had the place staked out...there he was, hands behind his back, millions of cops around...and two seconds later he was being chased down the alley...and got away!

The FEMALE TEEN has stood up and let the MALE TEEN sit down, the FEMALE TEEN now sits on the MALE TEEN's lap. The STREET GANG MEMBER takes a drag from his joint. The four teens are now situated around the table.

TEEN WITH SIDEBURNS
(With respect)
The best man between Hamilton and Toronto

MALE TEEN
He's beaten the cops every time

STREET GANG MEMBER
Haven't got him yet...But a dog can kill a wolf...If it gets lucky

FEMALE TEEN
Shut up

They all nervous and worried and except for the TEEN WITH THE SIDEBURNS, smoke heavily. The TEEN WITH THE SIDEBURNS looks at the time again.

TEEN WITH SIDEBURNS
Christ, he's never late

On these last words, the door bell rings four times. Relieved, they look at each other.

STREET GANG MEMBER
Finally

MALE TEEN
About time

The door opens. Schreff appears in a trench coat and ball cap, carrying two six packs.

ALL
About friggin' time you got here

He immediately shuts the door and comes into the room

SCHREFF
Close the curtains

At the window, the curtains are half-drawn. Next to it is the table where the TEEN WITH SIDEBURNS is sitting. The STREET GANG MEMBER walks over to the window and closes the curtains.

The STREET GANG MEMBER returns to his place at the table in the corner. Schreff removes his black trench coat to reveal a black dress shirt, black jeans and black leather gloves. He puts his hat on backwards.

SCHREFF
Now, everyone grab a beer, we have thing to discuss

He pulls up a chair and sits down.

SCHREFF
According to the rules of the truce, I am happy to see that the leaders of every organization in our brotherhood is represented. I assume that you all have full powers...

STREET GANG MEMBER
Westdale Dragons represented

MALE TEEN
(Drinking a beer)
Mountain tigers represented

FEMALE TEEN
Black Widows represented

TEEN WITH SIDEBURNS
East End Vipers represented

SCHREFF
...North End Black Coats represented...good let's not be held up by procedure. We all know why we are here.
(Vehemently)
Someone who is not a member of the brotherhood is threatening our business. The new measures taken by the police, the daily raids on our turf to find this child killer, interfere with our business activities. We can put up no longer with the endless pressure from the cops

TEEN WITH SIDEBURNS
That's for sure

STREET GANG MEMBER
Mm hmm!

SCHREFF
This illegal police state must not be allowed to continue. We'll have to put things right again or we'll be put out of business

The MALE TEEN puts out his joint. As SCHREFF continues to talk, the MALE TEEN takes out another joint and lights it. Now and again SCHREFF's gloved hand passes across the frame.

SCHREFF
Each of our respected organizations have been hurt financially. Unless we pool our resources and look after our brothers who are currently being 'looked after' by the province, we will suffer further. What is more, our reputation is suffering. The cops are looking for the murderer amongst our ranks, guys, when I come up against a cop on the street, he knows the risk he runs...and I do as well. If one of us dies...okay...hat's the risk one must take. It can happen: but we are not on the same level as this scum they're looking for now

SCHREFF underlines these last words with a wide gesture

TEEN WITH SIDEBURNS
I hear you

SCHREFF
There is a difference between him and us

FEMALE TEEN
Of course

STREET GANG MEMBER
(At the same time)
No comparison

SCHREFF
We're doing our job because we have a living to make. But this monster has no right to live. He must disappear. He must be exterminated, without pity... without scruples
(Pause)
We must be able to carry on business as usual, without the growing paranoia of the cops. I'm appealing to you...

With a gesture, he invites suggestions, on the gesture, we

CUT TO:

INT. THE OFFICE OF THE CHIEF OF POLICE -- DAY
(CHIEF OF POLICE, OFFICER, THE OFFICER, MALE TEEN, FEMALE TEEN, TEEN WITH SIDEBURNS, CITY OFFICIAL, DETECTIVE, SENIOR DETECTIVE, LAWSON, FIRST DETECTIVE, SECOND DETECTIVE, ANOTHER CITY OFFICIAL, TEEN, STREET GANG MEMBER, SCHREFF, ANOTHER, POLICE OFFICER,

The Chief continues Schreff's same gesture. A meeting is also in progress at his office. Detectives, Police Officers and high ranking City Officials are sitting at a long conference table, littered with coffee cups. The Chief stands at the head of the table and finishes Schreff's line.

CHIEF OF POLICE
...for advice

He sits down and a POLICE OFFICER rises. Beside him a CITY OFFICIAL in an expensive suit, listens attentively

THE OFFICER
(In a military tone)
I suggest a closer watch on the known gang hang outs, a systematic search on the whole city, police raids...

The CITY OFFICIAL looks dubious

THE OFFICER
...more numerous raids, and certainly tougher ones

He sits down. We now cut back and forth between the meetings of the Police and the Gangs

AT THE GANG MEETING

...the MALE TEEN gets up

MALE TEEN
Net work...we need to set up a network. If someone sees a cop around their place then they must worn everyone else.

FEMALE TEEN
No problem, the girls can handle that, they see the cops all the time.

The STREET GANG MEMBER agrees; the MALE TEEN sits down justified

TEEN WITH SIDEBURNS
Now, it's up to the girls to snitch for us!

AT THE POLICE MEETING

...The CITY OFFICIAL stands

CITY OFFICIAL
I will ask the Province and Federal governments for more wide sweeping power to search any house, apartment, and backyard, in order to find any clue that will help us catch this murderer.

The CITY OFFICIAL sits

AT THE GANG MEETING

...The TEEN WITH SIDEBURNS rises

TEEN WITH SIDEBURNS
What we must do...and after all, we've all got contacts...what we must do is make a statement to the press ourselves, tell them that we, condemn the bastard just as much! We ought to make it known that the police should quit looking for him in our establishments and in our homes.

AT THE POLICE MEETING

...A SENIOR DETECTIVE speaks. Another Detective sits on his right; on his left a Police Officer

SENIOR DETECTIVE
I am sure it's someone who looks peaceful, someone who wouldn't harm a fly, except when he has one of his fits.

LAWSON listens with interest

SENIOR DETECTIVE
Perhaps when he is lucid, he even teaches children how to ride a bike

LAWSON nods in agreement

SENIOR DETECTIVE
Or perhaps plays poker with his friends. Without this appearance of, lets say unusual behaviour in his private life, it would not be impossible to believe that this murderer or Gacie were able to live for years around children without their neighbours suspecting them the slightest

An OFFICER with a moustache, agrees; beside him a CITY OFFICIAL takes notes:

THE OFFICER
That's what we must get across to the public. They must help

LAWSON, clearly annoyed, rises to his feet.

LAWSON
Don't talk to me about help from to the public. It disgusts me just to hear them talk.

He bows towards the CHIEF OF POLICE

LAWSON
Sorry Chief...

The CHIEF, smiling, makes a gesture accepting the apology

LAWSON
Sorry, but that is the truth. Good God! Has help from the public brought us one useful clue?

Takes a sip of water

LAWSON
Just a pile of letters full of the most incredible accusations

Two DETECTIVES at the end of the table concur

FIRST DETECTIVE
How true

LAWSON
Calls to the police about suspicious looking garbage men

SECOND DETECTIVE
Exactly

LAWSON
But what we really need is accurate information...they can't remember anything, they've seen nothing. That's the help from the public for you...

CHIEF OF POLICE
(Smiling)
I think you exaggerate a little Lawson

ANOTHER CITY OFFICIAL
No, he isn't. Most of the people I've talked to, aren't concerned. The majority of them don't realize that the disappearance of a child is also their problem

AT THE GANG MEETING

...Great clouds of pot smoke drift over the table. All present are deep in thought. The FEMALE TEEN, breaks the silence

FEMALE TEEN
I've got an idea! We can ask a magician, no, a phyc... phyc... you know like that John Edwards guy on Tv...Anyway I don't know what you call them...one of those guys who finds people by touching a wallet...

SCHREFF turns away sceptically

AT THE POLICE MEETING

A UNIFORMED OFFICER showing the signs of exhaustion adjusts his tie before he speaks

OFFICER
I also think the reward isn't high enough

His neighbour a CITY OFFICIAL, gestures in disagreement and gets up

OFFICER
Chief...we must offer more incentive for the public to help us find this murderer

The CITY OFFICIAL, standing, pushes his chair up to the table

CITY OFFICIAL
(Irritably, as he leaves)
None of this is getting us anywhere

AT THE GANG MEETING

...Clouds of pot smoke hang around the light

STREET GANG MEMBER
You mean a psychic, John Edwards talks to the dead

FEMALE TEEN
Well, what do you suggest?

SCHREFF gets up, moves behind his chair and leans on the back of it

SCHREFF
Well, we can't just wait until the cops make up their minds to arrest the guy

AT THE POLICE MEETING

A DETECTIVE with grey hair leans over the back of his chair towards the CHIEF OF POLICE, continuing the movement of SCHREFF. The SENIOR COP sits on his left. On his right in the foreground another DETECTIVE sits.

DETECTIVE
The difficulty of solving this type of crime is increased by the fact that the killer and the victim are only connected by a chance meeting. An instantaneous impulse is the killers only motive. Am I correct?

CHIEF OF POLICE
(Impressed)
Hmmm...Hmm...

DETECTIVE
We find the victim; we identify her; we find out when she last seen...and then...and then nothing more
(Beat)
Then children disappear
(Beat)
And you know what state we find them in...And the killer, as we know, in this kind of crime leaves little evidence behind. This is what makes our job so hard

AT THE GANG MEETING

...The MALE TEEN stands. In the back ground, the rest sit around the table. SCHREFF perches on the back of his chair.

MALE TEEN
The police have been looking for this murderer for eight months now. Now it's got to the pont where they will only catch hom if he walks into the jail

SCHREFF
No kidding

MALE TEEN
We will be in jail ourselves before that happens

SCHREFF
What are we going to do then?

HIGH ANGLE-THE POLICE MEETING

The room is hazy from the rising heat of the late morning sun. The meeting has come to a full stop and some of the officers and politicians have got up and are pacing around the room.

HIGH ANGLE-THE GANG MEETING

The TEEN WITH SIDEBURNS has made a pyramid with the collection of beer cans. The FEMALE TEEN lounges in the couch while the MALE TEEN paces maniacally.

HIGH ANGLE-THE POLICE MEETING

Some people have left while most of the remaining have left their places and are wondering around the room.

HIGH ANGLE-THE GANG MEETING

Only the TEEN WITH SIDEBURNS and SCHREFF sit at the table. The STREET GANG MEMBER stands by the table, and the MALE TEEN has moved into the background by the window. SCHREFF slowly lifts his head, and finally, deliberately, breaks the silence.

SCHREFF
We will have to catch the scum ourselves

Astonished, the others slowly gather around him

SCHREFF
You heard me...This is what we are going to do...

THE POLICE MEETING

Abandoned chairs around the conference table...Most of the delegates have left or are wondering around. But gradually their attention is drawn to what LAWSON is saying and one or two nod their heads in agreement.

LAWSON
There's still one possible way. The guilty man or possible suspects must already have a record somewhere. Such a person, obviously disturbed, must have sought help from someone. We've got to contact every clinic, police force, every psychologist in the country.

More general agreement

LAWSON
We will have to go back and re-check every file we have dismissed as not a possible suspect, anyone who fits the pathological profile of the killer is now a suspect

THE GANG HANG OUT

HIGH ANGLE-The GANG MEMBERS look down at a crudely drawn map of Hamilton drawn on a paper bag.

SCHREFF
Every square yard must be permanently watched. From now on now child must take a step without us being warned

CLOSE-SCHREFF'S BLACK GLOVED HAND

...Placed over the map

MALE TEEN
Okay, but how do we do that?

FEMALE TEEN
Yea, how?

SCHREFF
I know people...

WIDER-

The shadow of the group is silhouetted on the wall, Schreff's shadow in the centre

SCHREFF
...who can go anywhere without being noticed...who can follow anyone on the street's without arousing suspicion...who can follow the children right to their front doors without any trouble. In fact, people no one would suspect of being guilty.

STREET GANG MEMBER
Who? None of us? We are always being looked at

SCHREFF pauses then rises so that his shadow on the wall swells up

SCHREFF
The grade school kids. They want to be like us, so let them prove themselves

CUT TO:

INT. INNER CITY MALL -- DAY
(TEEN, ANOTHER)

Cigarettes, half eaten hamburgers, drink cups etc., are strewn over a table in the mall food court. A hand takes a French fry from a carton. Another slaps it away.

PAN UP:

To reveal a PER-TEEN boy swiping the longest French fry from a PER-TEEN GIRL's tray. Smiling, he puts the fry in his mouth.

We PAN OFF him, past another table of YOUNG TEENS to:

A notice reads:

"Only fifty dollars in the till at any time"

We PAN OFF this and TRACK to:

A table where two TEENS pass out cigarettes to each other

1ST TEEN
Nobodies here today

2ND TEEN
Yea, lets go

PAN TO:

ANOTHER TABLE WHERE:
(ANGRY GIRL, TEEN, THE BOSS, SCHREFF, TALL TEEN, CHUBBY TEEN, DUNK, A TEEN, ANOTHER, ALL, VOICES)

TWO GIRLS argue. One GIRL gets up in anger

ANGRY GIRL
You bitch, I told you not to talk to him!

PAN UP:

To show a SMALL TEEN with long stringy hair in a blue ball cap standing near a burger stand holding a coke. He takes a sip and makes a mock toast to a TEEN off camera.

WE TRACK:

Past the row of food stands to a record store in the corner of the mall. A TEEN wearing a red bandanna standing out front returns the gesture by giving the finger.

TEEN
Just wait, you ass hole!

TRACK TO:

A restaurant, where the BOSS is busy preparing her float

THE BOSS
(Counting)
Eighty, eighty-two, four, six, eight, ninety, ninety-two, four, six, eight, one hundred...

As she continues, we MOVE TOWARDS:

A huge blackboard fixed to the wall behind her. On it is written:

"Daily Specials for the 16th"

And the a list of sandwich specials and main course mawls. The BOSS murmurs to herself

THE BOSS
Christ these kids are killing my business... I wish they would find somewhere else to hang out

Her voice continues, as we PAN OUT:

A GROUP OF BENCHES SURROUNDING THE MALL FOUNTAIN

A statue of a bird of prey is prominently displayed in an antiques store adjacent. A group of six or eight YOUNG TEENS, form a circle.

We MOVE IN:

Toward the group, where two of the TEENS are in conversation with SCHREFF. One looks at a map written on a napkin while SCHREFF draws in circles.

1ST TEEN
Yeah, I can do that

2ND TEEN
Yeah, how about here on Cheever

We MOVE IN:

Towards SCHREFF who leans against the fountain surrounded by the much smaller teens.

The teens wait on SCHREFF's words of action

SCHREFF
You two are responsible for every alley way of every house on Cheever from Barton to the old warehouse

1ST TEEN
Sure

2ND TEEN
We can do that

The TEENS EXIT. The remaining close in the circle

SCHREFF
You two...

INSERT--A crudely drawn map marked with the places where children have disappeared or been murdered

CLOSE--SCHREFF's pen follows one of the streets

SCHREFF
Westinghouse to Woodland Park... okay?

WIDE ANGLE-MALL

A TALL TEEN stands before SCHREFF and two more TEENS join him. The CHUBBY TEEN looks at the map.

TALL TEEN
Westinghouse to the park, got it

CLOSE-A hand writing a name beside a circle on the map

SCHREFF
Dunk, it's yours

The HAND folds the map

WIDER ANGLE-THE CIRCLE OF TEENS

With DUNK in the foreground: he is a tall thin teen

CHUBBY TEEN
Hey Dunk, maybe you'll win the hundred grand

DUNK
Maybe I will
(Smugly)
Wouldn't that make the cops shit

ANOTHER ANGLE-ANOTHER PART OF THE MALL

An assorted collection of leather goods and crafts are on display. A line of tables form a small flea market. Books of all types are spread out on one particular table. In the background there are tables with several stacks of shoes and racks of shirts and sweaters. A constant buzz of voices reaches out from other parts of the mall. A bargain dealer demonstrates a cheap radio to a customer, but it has very poor quality sound.

BLIND BEGGAR--The one who the killer tossed a dollar too stands, playing with the volume on the cheap radio. Turning the volume up he winces from the distorted music. He immediately turns the volume down. The music stops; he continues to adjust the volume until it is at a comfortable level for him. A slow classical music number begins to play, to the BLIND BEGGAR's delight. He begins to conduct an imaginary orchestra. The music continues over as we:

CUT TO:

EXT. AN INNER CITY PARK -- DAY
(MAN WITH DOG, YOUNG TEEN BEGGAR, LITTLE GIRL, TEEN, ANOTHER, DUNK, ALL, MOTHER)

HIGH ANGLE-EARLY EVENING

The setting sun casts long shadow across the basketball court. In the gloom, a few children stand around a man with a dog.

CLOSER-THE DOG

The dog barks

MAN WITH DOG
Got to go, kids

EXT: MONTAGE--DAY

THE NEXT DAY-SIDEWALK

The legs of a YOUNG TEEN BEGGING on the curb with his hand out. A man and a little girl pass, but only their legs are visible. The man tosses the young beggar a quarter.

YOUNG TEEN BEGGAR
Thank you

CLOSE-

The YOUNG TEEN BEGGING wears dark sun glasses and a ball cap.The two shadows of the passer by's draw away. The YOUNG TEEN BEGGAR lifts his sun glasses to take a sly look after them.

YOUNG TEEN BEGGARS POV-

The man and the little girl walk off arm and arm.

We TRACK with them-

Past a buss shelter poster advertising the latest movie. The man goes with the little girl as far as the entrance to a school. He kisses her and leaves her there.Beside the school entrance another YOUNG TEEN wearing a white baseball cap, is on the look out.

CANDY COUNTER-

Two little girls pour over the selection of candy in a convenience store. DUNK stands outside the store smoking a cigarette, keeping watch.

MOM AND POP BUSINESS-

In the shop window, a sign advertising '$8 Haircuts for Men, $15 for Women' is displayed. Inside the sound of a hair dryer and two women laughing can be heard. A young child runs out of the door, onto a nearby sidewalk. A group of young teens stand outside the salon all dressed in white sports jerseys. The mother of the child runs out of the shop to retrieve her child and shuts the salon door.

CUT TO:

INT. LAWSON'S OFFICE -- DAY
(LAWSON, COP, YOUNG COP, ALL, ANOTHER)

Lawson sits at his desk, typing a report on a computer

INSERT-OF THE REPORT

'When searching their homes one must above all look for any clue by which we could establish where the murderer's letter to the papers originated. If there is an old wooden table the letter could have been written on, if there is any tiny shred of red paper the letters where pasted on, or paper of the same type'

LAWSON's hand comes into shot typing. He erases the words 'old wooden table' and corrects a typing error

LAWSON
(Off the typo, muttering)
Idiot

He also erases the words 'red paper'. A knock at the door.

LAWSON
Come in

Lawson hits the print button

WIDER ANGLE-OFFICE

A YOUNG COP comes in and passes him a file

YOUNG COP
Here's the list of all residences of half way houses that have sought mental health help in the last five years

INSERT-THE FILE

As LAWSON sorts through it. It contains from 'Dr. Philip's Psychiatric Clinic', from the 'Hamilton heath Sciences Centre', from 'St. Elizabeth's Medical Centre', from 'The Church of Nazareth Health Clinic', from 'Dr. Lenkowitch's Private Care', from 'MacMaster Hospital', etc.

YOUNG COP
Reports from every institute, private and public

LAWSON picks up another file

YOUNG COP
And that's a list of those on the list who have a history of violent crime involving children

LAWSON opens the file and flicks through it.

CUT TO:

EXT. LOWER MIDDLE CLASS DUPLEX APARTMENT -- DAY
(COP, MURDERER)

Early Afternoon, The MURDERER, coming out into the street from an apartment building, moves off to the left. The YOUNG COP from Lawson's office immediately appears from the right. He hesitates an instant, then goes in.

CUT TO:

INT. DUPLEX APARTMENT-ENTRANCE HALL -- DAY
(MRS. WARDEN, COP, YOUNG COP, ALL)

INSERT-A PIECE OF TAPE ABOVE A BELL

It reads 'Elizabeth Warden'

CLOSE-

The YOUNG COP's hand flips through a notebook full of addresses. All except the last three have been crossed out. His finger stops at 'Henry Bellwood, c/o E. Warden. 115 Glendale Ave, Apt. 2'

WIDER-

The YOUNG COP stands by a door on the landing. He rings and puts his notebook away. A small frightened elderly lady named Mrs. Warden answers the door. The YOUNG COP greets her.

MRS. WARDEN
(Very Softly)
Morning

YOUNG COP
Does a Mr. Bellwood live here?

MRS. WARDEN
Excuse me?

YOUNG COP
(Louder)
Does Mr. Bellwood live here?

MRS. WARDEN
Sorry, I don't hear very well, who do you want?

YOUNG COP
(Slightly annoyed, even louder)
Mr. Bellwood, does he live here?

MRS. WARDEN
(A little worried)
Oh, Mr. Bellwood? Yes... yes of course. Yes Mr. Bellwood lives here, I'm afraid you just missed him

YOUNG COP
Too bad...I just needed to talk to him

MRS. WARDEN
(Very Softly)
About what?

She shrugs her shoulders.

YOUNG COP
(Loudly)
I'm from the Crime Stoppers Unit. Mr. Bellwood called us with a tip that paid off, I would like to give him his reward

MRS. WARDEN
(Startled)
Oh my! Wonderful! Yes. Would you like to wait?

She gestures to him to come in. He nods.

YOUNG COP
Yes, thank you

MRS. WARDEN
Not at all

The YOUNG COP enters

CUT TO:

INT. THE MURDERER'S APARTMENT -- MOMENTS LATER
(MRS. WARDEN, COP, YOUNG COP)

Mrs. Warden unlocks the door to the apartment and allows the YOUNG COP to enter.

MRS. WARDEN
Please have a seat

The YOUNG COP puts his cap on the round end table and sits down in an armchair beside it. SHE EXITS.

As soon as she leaves, he jumps up to examine the room, but he hears Mrs. Warden coming back and only has time to sit down again.

SHE RE-ENTERS-

Carrying a newspaper,

MRS. WARDEN
Sorry if I don't get the paper someone would steal it

YOUNG COP
(Loudly)
No problem

MRS. WARDEN
I'll just lave it here, I'll make us some tea

He notices the paper.

INSERT-THE FRONT PAGE

'The Hamilton Spectator, 24th of November, 2004'

WIDER-THE YOUNG COP AND MRS. WARDEN

YOUNG COP
Tell me, Mrs. Warden, does Mr. Bellwood take the paper?

MRS. WARDEN, already at the kitchen entrance, turns around.

MRS. WARDEN
(Astonished)
Mr. Bellwood?
(Laughs)
No,he always borrows mine

YOUNG COP
Ah...
(Beat)
Thank you

Mrs. Warden nods and enters the kitchen. As soon as she leaves again, the YOUNG COP gets up and looks at the table where he put his cap. He throws the cap on the chair and carefully lifts the doily.

HIGH ANGLE-

The YOUNG COP bends over the table and scratches the wood with his finger nail.

CUT TO:

INT. FRUIT MARKET -- DAY
(ANOTHER, MURDERER)

A fruit sellers stand, pilled high with apples, oranges and kiwis. From a hook hang some bananas. The MURDERER stands in front of a stand eating an apple, at the same time gesturing to the fruit seller to put another in the bag being filled for him. The MURDERER watches the seller weigh the bag, then puts another apple in it.

CUT TO:

INT. THE MURDERER'S APARTMENT -- DAY
(COP, YOUNG COP, MURDERER)

HIGH ANGLE-

The YOUNG COP finishes his inspection. Disappointed by the negative results, he slowly straitens the doily.

NEW ANGLES-THE YOUNG COP BESIDE THE TABLE

Above his head hangs a fifties style globe ceiling light and beyond him a portable space heater stands in the corner. As the YOUNG COP carefully surveys the room, we

PAN across from the table to the double windows. A bowl of fruit and other food stuffs are stored in the space between them. We recognize the same wide window seat where the MURDERER wrote his letter to the press.

We PAN to a wicker waste paper basket from which the YOUNG COP extracts an empty cigarette packet, an ad from a magazine for a travel agency and a receipt, which he lifts up and studies carefully. Deep in thought he pulls his notebook from his pocket and starts taking notes.

EXT. STREET -- DAY
(ANOTHER LITTLE GIRL, MOTHER, WAITRESS, MURDERER, LITTLE GIRL, THE GIRL) THE MURDERER EATS AN APPLE AND LOOKS AT A WINDOW DISPLAYING CUTLERY AND SILVERWARE SHOP.

We see him from inside through the glass, his face framed in the reflection of a diamond shaped display of knives. The reflections of other cutlery form geometric patterns around him. We see the street behind him and his view of the shop window: the knives are arranged around a diamond shaped mirror on the screen at the back of the window.

The MURDERER munches his apple... Suddenly he stops chewing. Reflected in the mirror he can see a little girl waiting for a bus across the street behind him., the image framed with knives. The MURDERER stands transfixed, starring at her. He wipes his mouth with the back of his hand, eyes growing wide. He takes on the appearance he had when he examined himself in the mirror earlier.

The little girl leans against the bus sign post, nonchalantly, patiently waiting. The MURDERER's arms fall limply to his side and his eyes close as he sways forward against the shop front.

Then the psychotic' episode subsides and he recovers slightly. Seen in the reflection, the little girl steps onto the bus and the bus pulls away. The MURDERER slowly turns around and follows the bus with his eyes. He puts his hands in his pockets and sets off down the street whistling 'Ring Around the Rosy'

A BOOKSHOP OUTDOOR DISPLAY-

In which hangs a spinning cardboard airplane, bobbing quickly up and down. ANOTHER LITTLE GIRL stares fascinated by the continual motion, until she turns away distracted by something else. Just as the 'Ring Around the Rosy' theme begins to accompany her-- whistled piercing by the MURDERER O.S-- The girl wanders on past a McDonald's and delightedly flings her arms around a SMARTLY DRESSED YOUNG WOMEN who approaches her. The whistling stops abruptly.

ANOTHER LITTLE GIRL
Look mommy they have Harry Potter!

MOTHER
Honey, don't ever wonder off. I couldn't find you

The women and the girl walk off, arms around each other. We follow them along the pavement as the pass the MURDERER who has ducked into the bookshop doorway, pretending to look at some books displayed there. He looks around furtively and eventually steps out into the street to watch them go, his eyes glaze over and his mouth partly open. Behind him the airplane continues to bob up and down, its shadow, appearing to be dive bombing at every descent, as if bombing the MURDERER's plan. He puts his hands together on his chest, nervously scratching them. The MURDERER turns to see:

A NEARBY CAFE

...with tables outside, screened from the street by an awning and trellis with fake ivy laced on top to bottom. The MURDERER enters and sits at a table to the left of the entrance, his face just visible in profile through the foliage. A WAITRESS comes out to serve him. The cafe is empty.

WAITRESS
Good evening...would you like a menu?

MURDERER
No just coffee

The WAITRESS starts to withdraw,

MURDERER
(Abruptly)
No wait!...a beer...no, a whisky, neat

The WAITRESS nods and withdraws.

MURDERER
(Exhausted)
Whisky...whisky...

We TRACK in towards the foliage. The MURDERER whistles his theme, then stops. He takes out a cigarette as the WAITRESS arrives with his drink.

WAITRESS
There you are

The MURDERER drinks the shot down in one gulp.

MURDERER
(In a broken voice)
Another one please

The WAITRESS's hand removes the shot glass

WAITRESS
Sure

The WAITRESS exits, leaving the MURDERER sitting transfixed on the stone tile of the patio. With a mechanical gesture he puts a cigarette in his mouth and immediately takes it out again, throwing it down. He quickly presses his two bunched fists into his eyes and starts to whistle again. Then he covers his ears. In the background the lights of the cafe come up and faintly illuminate the table. He immediately stops whistling and gets up.

We TRACK away from him rapidly

MURDERER
The bill?

WAITRESS
(Coming up)
Do you still want this whisky?

MURDERER
Oh yes

The MURDERER drinks down the second shot

WAITRESS
That will be four fifty please

Coins clink on the saucer

WAITRESS
Thanks very much

The MURDERER departs, whistling, his hands in his pockets.

CUT TO:

INT. LAWSON'S OFFICE -- DAY
(COP, YOUNG COP, LAWSON)

LAWSON sits at his desk thinking. Beside him; the YOUNG COP makes his report.

YOUNG COP
115 Glendale Avenue, apartment two, Henry Bellwood. He does not have a newspaper subscription. A walnut table with a doily. No writing instruments, nor any traces of a glue like substance. No paper of any kind. In the waste paper basket, a printed advertisement and a receipt...

LAWSON thinks; behind him we see a map of the city.

YOUNG COP
...for some flowers, no description of what kind. An empty cigarette packet, menthol. A bag of gum drops with the name of a drugstore...

LAWSON
(Interrupts)
Wait...wait a moment

He screws his eyes and thinks.

LAWSON
Menthol, did you say? Are you sure?

We TRACK in on LAWSON's face. Deep in thought, he writes Menthol on his ink blotter. We TRACK CLOSER.

LAWSON
That rings a bell...Menthol

We TRACK CLOSER. Suddenly, LAWSON seems to have got it. He pulls his keyboard closer.

LAWSON
(Typing)
The Mary Pearl murder

CUT TO:

EXT. THE BLIND BEGGARS CORNER -- DAY
(BLIND BEGGAR, PASSER-BY, A WOMEN)

The BLIND BEGGAR has just received two quarters from a women who places the change into his cup, takes a flower and goes off.

BLIND BEGGAR
Thank you very much

From far off, we hear the MURDERER's whistling approach. His shadow passes. The BLIND BEGGAR lifts his head.

BLIND BEGGAR
(To himself)
That's funny...I've heard that somewhere before

We TRACK CLOSER

BLIND BEGGAR
(To himself)
It was...it was...

Some passers-by watch with concern as the BLIND BEGGAR walks forward, away from the corner, tapping his stick. Near the edge of the sidewalk, the BLIND BEGGAR begins to wave and shout--to the surprise of some passers-by.

BLIND BEGGAR
Hey, hey, can you hear that!

A PASSER-BY, a young man in a ball cap, rushes to join him.

PASSER-BY
What's wrong?

The BLIND BEGGAR grabs the PASSER-BY's shirt

BLIND BEGGAR
Listen there's someone whistling can't you hear him?

The PASSER-BY shakes his head, no. The BLIND BEGGAR turns his face in the direction of the whistling. The PASSER-BY looks and listens.

BLIND BEGGAR
There

The PASSER-BY cranes his neck. But the whistling suddenly stops.

BLIND BEGGAR
He just stopped. Did you see him, the guy who was whistling?

PASSER-BY
Yes, I see him

BLIND BEGGAR
Yes?

PASSER-BY
Sure. He's talking to a little girl as they walk down the street

BLIND BEGGAR
You have got to stop him

PASSER-BY
Why?

BLIND BEGGAR
The day Anna Mariano was killed, someone bought a flower off me. He was with a little girl...

The PASSER-BY understands and rushes off.

BLIND BEGGAR
...and the guy whistled just like that!

CUT TO:

EXT. THE QUIET STREET -- DAY
(PASSER-BY, LITTLE GIRL, MURDERER, OLD WOMEN, THE GIRL)

The PASSER-BY runs to the end of a street under construction. The MURDERER is nowhere in sight. We follow the concerned PASSER-BY as he enters the quiet street running at a right angle to the previous one. In a small variety store some activity catches his eye and he approaches.

The PASSER-BY's POV--

The MURDERER and the LITTLE GIRL are being served by an old women. She hands him a paper bag and a chocolate bar for the girl, who thanks her as the MURDERER pays.

PASSER-BY IN THE STREET--

In front of the window; he moves quickly and then hesitates a moment. Taking one last look, he runs off.

The PASSER-BY runs to the other side of the street and hides behind a large hexagonal orange construction sign. He watches the street.

The MURDERER and the LITTLE GIRL come out of the store. She smiles and offers him an apple, she excepts. Then he sweeps back his coat and puts his hand into his trouser pocket.

CLOSE--

He begins to remove a metal object. The metal glints and flashes.

ANGLE ON THE PASSER-BY--

Ready to jump out

CLOSE--

The MURDERER removes a small jack knife

CLOSE--

The palm of the PASSER-BY's left hand in which he holds a set of keys on a heavy key tag in the shape of the letter M.

ANGLE ON THE MURDERER--

Facing the girl. He flips open the jack knife. The PASSER-BY runs up and knocks the MURDERER to the ground and so gets the chance to slam his left hand against the back of the MURDERER's left shoulder. Terrified, the MURDERER drops the knife.

PASSER-BY
(Angry)
Your a sick pervert

The PASSER-BY gestures at the LITTLE GIRL.

PASSER-BY
What the hell are you doing?

CLOSE--THE KNIFE ON THE GROUND

PASSER-BY
(To the LITTLE GIRL)
Run home and call the police, I'll hold him until the get here

The LITTLE GIRL bends over and picks up the knife.

PULL BACK WIDE--

Shot as she tries to help the MURDERER up.

LITTLE GIRL
Let him go he's my uncle!

The MURDERER is startled by the attack but quickly recovers. He stands and grabs her with one hand and the knife with the other, and presses it to his chest, as we

CIRCLE AROUND BEHIND HIM--

To discover high on his neck and unbeknownst to him--a faint bruise in the shape of a ragged letter 'M'

CUT TO:

INT. LAWSON'S OFFICE -- DAY
(LAWSON, COP, YOUNG COP)

Lawson sits at his desk, the YOUNG COP standing beside him. LAWSON reads a file, following the lines with his finger. Suddenly he raises his head.

LAWSON
There...that's it. The found three cigarette buts where the crime took place--Menthol

YOUNG COP
Yes, the cigarettes are the same, but what about the letter, in that case we found traces of lead paint on the note on the note. That table in the apartment was a cheap veneered table.

Nervously, LAWSON waves away the objection and plunges back into the file.

YOUNG COP
(Thoughtfully)
Of course...he could have written the letter somewhere else but...

The YOUNG COP's eyes turn to LAWSON's office window. He glares at the sill.

YOUNG COP
(Suddenly leaning towards LAWSON)
...Christ the window sill!

CUT TO:

INT. MURDERER'S APARTMENT -- DAY
(LAWSON, COP, YOUNG COP)

CLOSE-THE WINDOW SILL

A hand moves cotton swab back and forth across a crack between the sill and the casing. The swab turns pink.

WIDER-

LAWSON and the YOUNG COP closely examine the swab. LAWSON holds up the swab and we see them in profile.

LAWSON
You're right, that cill has been repainted but they never removed the old lead paint

YOUNG COP
Just a minute!

He bends over and points to a stain on the glass of the double windows. He examines it, then turns to LAWSON

CLOSE-THE STAIN ON THE GLASS

YOUNG COP
Want to bet that tests positive for glue

WIDER-

LAWSON and the YOUNG COP stand in front of the window.

LAWSON
(With great satisfaction)
Finally, we are getting somewhere!

CUT TO:

INT. GANG HANG OUT -- DAY
(STREET GANG MEMBER, FEMALE TEEN, MALE TEEN, TEEN WITH SIDEBURNS, TEEN, SCHREFF)

SCHREFF sits, wearing his usual black trench coat and leather gloves. The STREET GANG MEMBER talks on a cell phone opposite him. The TEEN WITH SIDEBURNS and the MALE TEEN stand beside him.

STREET GANG MEMBER
(Into the phone)
Yes...what?

A knock at the door.

STREET GANG MEMBER
(To the others)
They've found him

FEMALE TEEN
(Enters and joins the group)
They've found him?

MALE TEEN
Dunk says the flower guy found him

TEEN WITH SIDEBURNS
He was talking to a little girl

MALE TEEN
What happened?

FEMALE TEEN
They left their mark on him

STREET GANG MEMBER
(To the others)
Can't you be quiet?!
(Into the phone)
What's that?

CUT TO:

EXT. TELEPHONE BOOTH -- DAY
(PASSER-BY)

The PASSER-BY'S on the line

PASSER-BY
(Into the phone)
They're following hom everywhere.They're not letting him out of their sight for a second.

CUT TO:

EXT.CITY STREETS-SURVEILLANCE MONTAGE -- DAY
(PASSER-BY, LITTLE GIRL, MURDERER, TEEN)

The MURDERER walks slowly down a street with a little girl.

PASSER-BY
He's being watched

A YOUNG TEEN throws down a cigarette but, a sign for two colleagues to follow the MURDERER.

NEW ANGLE-

The MURDERER and the LITTLE GIRL, as they reach a wall covered with posters. The two YOUNG TEENS follow close behind. The SMALLER TEEN disappears behind a building and the LARGER TEEN takes his place.

DISSOLVE TO:

NEW ANGLE-STREET -- MOMENTS LATER
(A TEEN, LITTLE GIRL, MURDERER, TEEN)

Seen from a half-open door. Behind the door is the outline of a TEEN ON WATCH. The MURDERER and the LITTLE GIRL cross the street, followed by the LARGER TEEN and his partner. The TEEN ON WATCH takes over for his partner.

DISSOLVE TO:

ANOTHER ANGLE -- MOMENTS LATER
(ANOTHER, LITTLE GIRL, MURDERER, TEEN)

The MURDERER and the LITTLE GIRL passing in front of a McDonald's. The two teens are still following. The LARGER TEEN signals with a tip of his cap. Another teen emerges from the McDonald's and takes over from him in trailing the MURDERER.

DISSOLVE TO:

EXT. TOY SHOP -- DAY
(LITTLE GIRL, MURDERER, TEEN, VARIOUS VOICES, ALL, ANOTHER, A TEEN, SECOND TEEN)

The window display of a toy shop, seen from inside, full of dolls, teddy bears and all kinds of toys. A lot of traffic on the street. The MURDERER and the LITTLE GIRL stop in front of the window. He talks to her enthusiastically and she eagerly points out a toy to him. The MURDERER nods his head.

NEW ANGLE--THE ENTRANCE OF THE SHOP

From the street. The MURDERER is just about to go in when the LITTLE GIRL sees the bruise and grabs his sleeve.

LITTLE GIRL
Uncle?

MURDERER
Yes?

LITTLE GIRL
You have something on your neck

MURDERER
Where?

He looks at himself in a mirror beside the doorway.

LITTLE GIRL
(Pointing)
Right there

CLOSE--

The MURDERER's reflection in the mirror. He turns and sees the M shaped bruise. His eyes widen.

WIDER--

The LITTLE GIRL and the MURDERER together.

MURDERER
God damn it

The MURDERER stairs at the bruise in the mirror. Suddenly frightened, he turns nervously towards the street.

MURDERER'S POV--

A YOUNG TEEN, partially hidden behind a beer truck.

RESUME on the panicking MURDERER and the LITTLE GIRL.

LITTLE GIRL
(Astonished)
What's the matter?

MURDERER
Go...Run home

He takes her hand and is about to leave when he hears someone whistle sharply, terrified, he lets go of the LITTLE GIRL and runs away.

ANOTHER ANGLE--

A street corner with a street light with a pawnbroker's shop in the background. The MURDERER runs to the corner, where he startles easily at the sound of more sharp whistles that seemingly have him surrounded.

Uncertain, he moves first one way and then the other, before finally deciding to turn down a side street. We PAN with him to reveal a TEEN standing nearby pressed tensely against the wall of a building, watching the MURDERER. Is he one of the teens? Or just waiting for someone? They regard one another for a long, agonizing moment. Nervously the MURDERER hesitates a moment and then walks off briskly. The TEEN watches the MURDERER depart, then, after a long moment, begins to follow him.

HIGH ANGLE--

The MURDERER in an empty street, trying to shake off his pursuers. He turns sharp left and crosses the road, but at the far end two teens appear. The MURDERER retraces his steps and stops, undecided, in front of a huge block of factory buildings. In the foreground, a pursuer blocks the middle of the street.

ENTRANCE--

The entrance leads to the parking lot of the office buildings of a factory. We TRACK rapidly with him as the MURDERER fractically runs in and hides behind a building. Anxiously, he watches the entrance.

MURDERER'S POV--

Another entrance on the other side of the parking lot leading to another street. A police cruiser passes across it.

RESUME--

On the MURDERER in his hiding place; he flinches at the sight of the police cruiser and presses his back against the wall.

TWO TEENS-The appear in the entrance which the MURDERER came through.

RESUME--

On the MURDERER, poking his head out to look at the street.

THIRD TEEN-A third teen arrives and joins the other two. They take stock of the situation. The FIRST TEEN gives a signal and the other two go off right and left to circle the building, the siren of a fire truck blares in the distance.

WIDE ANGLE-

From the street we see the entrance where the MURDERER, a tiny figure hides behind the wall, two fire trucks roar past, sirens blaring and lights flashing-- and blocking the remaining beggars view. By the time the fire trucks passed, the MURDERER has disappeared. The FIRST TEEN quickly crosses the road and enters the lot, searching vainly for the MURDERER. The two other teens return and join him in the lot.

THE THREE TEENS CONFER--

2ND TEEN
Anyway, he hasn't come out. We would have seen him

3RD TEEN
Impossible

1ST TEEN
He must be still here. He didn't come out this way either

2ND TEEN
He's around here somewhere

The TEENS peer around.

TEENS POV--

PAN along the face of the building. The sun is now very low and windows are lighted.

1ST TEEN
Maybe he's hiding inside the building

A whistle blows indicating the end of the shift

THE THREE TEENS--

2ND TEEN
Shit! The factory's letting out

1ST TEEN
Christ we will never find him now

2ND TEEN
Hell! I'll stay here and look

1ST TEEN
I'll wait on the street and look

He starts to rush off. Factory workers begin to exit the building.

1ST TEEN
Keep a look out

The other two run towards the other entrances as the factory workers start streaming out, some get into cars and drive away. The SECOND TEEN, pretending to be waiting for a friend.

VARIOUS VOICES
Got a smoke, I'm dying for one... I can't wait for my holidays to start...Only another week...The doctor put me on this medication...The boss came up to me today...

In the foreground, a car passes, honking its horn

CUT TO:

INT. THE MURDERER'S APARTMENT -- NIGHT
(COP, DETECTIVE, YOUNG COP, OFFICER)

The YOUNG OFFICER sits on the window sill. The other detectives sit in the foreground.

YOUNG COP
Put out the light, I thought I heard something

A DETECTIVE rises and switches out the light, the detective looks out the window.

DETECTIVE
What time is it?

YOUNG COP
Nearly six-thirty

CUT TO:

EXT. OFFICE BUILDING -- NIGHT
(GUARD, OFFICER) A UNIFORMED GUARD FINISHES CLOSING AND LOCKING THE IMPOSING SECURITY GATE THAT GOES RIGHT ACROSS THE ENTRANCE.

He greets a passing police officer and goes back into the building. We HOLD on the empty courtyard for a beat or two.

CUT TO:

INT. ENTRANCE OF A DOUGHNUT SHOP -- NIGHT
(TEEN)

The 1ST TEEN talks on a cell phone to the TEENAGER WITH SIDEBURNS.

1ST TEEN
He must be still in the building, any way he didn't come out with the others

CUT TO:

INT. THE GANG HANG OUT -- NIGHT
(TEEN WITH SIDEBURNS, SCHREFF)

The TEEN WITH SIDEBURNS-

Cigarette in his mouth, is on a cell phone in the living room of the apartment. Standing beside him SCHREFF still wearing his black trench coat, plays with a baseball bat.

TEEN WITH SIDEBURNS
All right...got Yea...wait a minute

He moves the phone from his ears and turns to SCHREFF.

TEEN WITH SIDEBURNS
The kids have gone for reinforcements to search the whole area. They say the murderer must still be in the building

SCHREFF
Hmmm...
(Thoughtful pause)
Where are they?

TEEN WITH SIDEBURNS
(Into the phone)
Where are you?

INT. DOUGHNUT SHOP ENTRANCE -- NIGHT
(TEEN)

1ST TEEN
Down at the refrigerator factory

CUT TO:

INT. REFRIGERATOR FACTORY-OFFICES ON THE TOP FLOOR -- NIGHT
(GUARD, ALL, ANOTHER, MURDERER)

Down the hallway on the top floor, we see the half-open door of an office. To the right of the door is a clock. The guard comes up and stops, astonished, in front of the door.

GUARD
(To himself)
What the hell?

We TRACK with him as he pushes open the door and looks in the office

GUARD
(Shouting)
Anyone there?

He shines his flashlight into the room and then enters.

VARIOUS ANGLES--IN THE OFFICE

The GUARD searches the office

GUARD
Hello! Is anybody still here!

In the foreground, various cubicles, all filled with a jumble of computer equipment, furniture and filing cabinets, cut off from the rear entrance by solid partitions. The GUARD passes behind them. We TRACK with him past several cubicles.

GUARD
Anyone in here?

He checks one cubicle by shining his light. He checks another, where he does the same.

NEW ANGLE-

In the gloom of the office, we can just make out the MURDERER, hiding in the corner behind some boxes of computer supplies. We hear the disappearing footsteps of the guard and the closing of the door.

GUARD
(Quietly to himself)
Christ, and they blame me if something goes missing

RESUME-

On the GUARD as he locks the door, then turns away

GUARD
Damn lazy asses...Can't even lock a door

He walks away.

RESUME-

On the MURDERER as the office goes dark again. He stands up, tremendously relieved. We hear the door that leads out into the hallway close and a key turn in the lock. The MURDERER stands alert, breathing heavily, realizing he's trapped.

CUT TO:

INT. GANG HANG OUT -- NIGHT
(TEEN WITH SIDEBURNS, MALE TEEN, SCHREFF, TEEN, FEMALE TEEN, STREET GANG MEMBER, EVERYONE)

SCHREFF, THE TEEN WITH SIDEBURNS, THE STREET GANG MEMBER, THE MALE TEEN and THE FEMALE TEEN are grouped around the table. SCHREFF standing, looks down suspiciously holding the bat down on the table. The TEEN WITH SIDEBURNS is on the phone.

TEEN WITH SIDEBURNS
Yes!...Good

He removes the phone from his ear and talks to the others.

TEEN WITH SIDEBURNS
It looks like we got this guy cornered. I think it's time to give a tip to the cops

MALE TEEN
(Smugly)
I agree

The FEMALE TEEN and THE STREET GANG MEMBER also agree. THE TEEN WITH SIDEBURNS starts to talk into the telephone again.

TEEN WITH SIDEBURNS
(Into the phone)
Now listen, carefully

With authority, SCHREFF grabs the cell phone from him.

SCHREFF
Hello. Later...What?...Okay...Call me back

He hangs up

TEEN WITH SIDEBURNS
What is it? What's got into you?

SCHREFF
(Angrily)
Are you crazy or something?

TEEN WITH SIDEBURNS
Why?

SCHREFF
The cops? No...We are going to get this guy ourselves...Listen...Now, the time is...

Clumsily, everyone checks their watches

MALE TEEN
Eight o'clock

SCHREFF
Good...then, at...
(Counts aloud)
...Nine...Ten...
(Decisively)
...Eleven o'clock...!

CUT TO:

EXT. OUTSIDE THE FACTORY -- NIGHT
(COP, GUARD, SCHREFF, ALL, TEEN WITH SIDEBURNS, MALE TEEN, TEEN)

The entrance of the office block from the street. We can see through the sliding gates to the lighted window of the GUARDS office. Somewhere a clock strikes eleven, a COP walks up to the gate and stops. He rings the bell. The GUARD comes out into the yard.

GUARDS POV--

Reveals an empty street through the gates and the COP standing behind them.

COP
Good evening, I noticed your gates...

CLOSE-THE GATE

...It's locked tight

COP
...Weren't closed?

GUARD
What? But that's impossible...

He comes forward, but only his hands holding a flash light are visible.

GUARD
...But it is...

He stops suddenly.We PAN to his shocked face.

QUICK CUT-

The COP's gloved hand points a gun through the ironwork.

COP
Open up and no noise!

CLOSE-THE GUARD

Stunned behind the gate

REVERSE-

The COP-who turns out to be SCHREFF in disguise. He points a gun.

SCHREFF
Are you going to open up, then?
(A pause; then, brutally)
Come on...Get it open!

The GUARD slides back the gate. SCHREFF goes through and with the barrel of the gun pushes the GUARD towards his office. The gate stays open.

SCHREFF
Get moving!

ANGLE ON THE GATE--

Which has been pushed open just wide enough to let one person through at a time. The key ring swaying from the key ring in the lock of the gate. O.S SCHREFF whistles sharply, someone echoes his whistling.

The TEEN WITH Sideburns appears and signals to a group of friends to follow him. They pass through the gate, loaded with bags of tools, they all gather on front of...

THE GUARDS OFFICE--

Over the heads of the whole group, through the glass patrician of the half open door, we see the GUARD sitting terrified with SCHREFF and the MALE TEEN standing over him.

SCHREFF
How many other guards are there inside?

The GUARD does not move

SCHREFF
Okay then, you want to play hero?

The GUARD shakes his head, the MALE TEEN grabs him by the throat.

SCHREFF
(Ironically)
Okay, then

He shuts the door from the inside. Through the glass panes of the door, we see SCHREFF saying something to the GUARD who still refuses to reply. At a sign from SCHREFF, the MALE TEEN reaches over the seated guards arms. The crowd of tee ns press forward to watch the torture through the glass, thus practically blocking our view. After a second's silence, there is a muffled scream SCHREFF opens the door and speaks to the teens standing outside.

SCHREFF
(Matter of fact)
Two more watchmen, guys

CUT TO:

INT. OFFICE BUILDING -- NIGHT
(MURDERER, SCHREFF, MALE TEEN, TEEN, TEEN WITH SIDEBURNS, STREET GANG MEMBER, BALACLAVA TEEN, TEEN IN KNIT CAP, SECOND TEEN, ANOTHER, A TEEN, GUARD)

HALLWAY--

One of the other guards comes through writing in his log book and then moves out of sight.

THE OFFICE--

Where the MURDERER, seen through the open top patricians tries to force the lock of the main entrance with his knife. He breaths heavily and swears in a low voice.

CLOSE--THE LOCK

Over the MURDERER's shoulder: He tries to jimmy the lock. Furiously- But it won't open.

MURDERER
Shit!

He examines the lock from another angle. On the back of his neck the letter M shaped bruise is still visible.

TIGHT--

He slips the blade of his knife back into the lock, he turns the blade trying to catch the lock, but the blade snaps and the point falls to the ground.

WIDER--

The MURDERER half-standing, half leaning on the door.

MURDERER
(Panicking)
Shit! Shit!

He raise his arms to throw the knife handle away. He freezes abruptly, arms up and eyes rolling widely. He hears something on the other side of the door and listens intently.

OTHER SIDE OF THE DOOR--

The guard passes. He writes in his log book. As he moves down the hall, we PAN up to reveal a TEEN perched on top of a storage cabinet just about him. The TEEN jumps the GUARD, knocking him out of frame. Sounds of a struggle, then silence.

OFFICE--

The MURDERER listens intently at the door. He tries to peer through the crack under the door. Relieved to see nothing, he shakes his head, and wearily wipes the sweat from his brow.

FOURTH FLOOR--HALL

TWO TEENS work on the lock of the door; ONE TEEN works a set of lock picks, the other holds a flashlight. A third TEEN comes up the stairs carrying a crow bar.

SCHREFF
Watch the flashlight and don't walk like a heard of elephants

The MALE TEEN arrives from the basement floor wearing a dark trench coat and blue cap.

SCHREFF
What's the story?

MALE TEEN
He isn't in the basement. We've been through it and found zip

SCHREFF
Hmmm!

MALE TEEN
Fried and Puke are still going through the boiler room

The MALE TEEN starts back down the stairs when SCHREFF calls him back.

SCHREFF
Wait

Two LARGE TEENS carrying an unconscious GUARD pass by in the background.

TEEN
(To SCHREFF)
That's the last one

SCHREFF
(To the MALE TEEN)
Go up and join Ed. He needs help

MALE TEEN
Okay

SCHREFF
Go on, get a move on!

The MALE TEEN hurries up the stairs.

GUARDS OFFICE--

Dressed rather out of the norm in a smart overcoat, dress shirt over a pair of jeans, the TEEN WITH SIDEBURNS pours over a guide book on the table. A log book lies on the desk behind him. Propped up against the desk, the SECOND GUARD lies bound and unconscious. The TWO TEENS carry the THIRD GUARD in followed by the MALE TEEN.

MALE TEEN
Schreff sent me

TEEN WITH SIDEBURNS
Good. Listen carefully

He points to the log book.

CLOSE-THE LOG BOOK

The TEEN WITH SIDEBURNS gloved hand points at the log book with his cigarette.

TEEN WITH SIDEBURNS
Here is what we have to do

CLOSE--GUIDE BOOK

The gloved hand points to a page reading Protocol'

TEEN WITH SIDEBURNS
Here is the set protocol that has to be followed. If one of these guards doesn't phone in to the main office at exactly the right time, they automatically send the cops. Get it?

RESUME--ON THE LOG BOOK

MALE TEEN
Sure

The TEEN WITH SIDEBURNS picks up the log and protocol book.

TEEN WITH SIDEBURNS
You need to learn the codes, you need to convince them nothing is wrong. Get it?

WIDER--

The two of them stand in front of the log book. The TEEN WITH SIDEBURNS picks it up.

TEEN WITH SIDEBURNS
I'll take this one, I make the first call, I'll read the guard number, time of each round and the result, ten minutes later, you phone with that guards log and do the same. Schreff already has his log and knows what to do. Do you? Don't fuck up!

MALE TEEN
What do you think I am, some kind of idiot?

TEEN WITH SIDEBURNS
Screw up and were dead

He hands the second guards book. The MALE TEEN sets off at a run to make another search.

STAIRCASE--

SCHREFF stands, listening to the report pf two more of his guys.

1ST TEEN
He isn't in the boiler room either

SCHREFF
Fine

TWO TEENS pass with a cutting torch and cylinder of acetylene

2ND TEEN
I found this in the basement

SCHREFF
(Shouting into his walkie-talkie to someone on an upper floor)
Hey!

LANDING ABOVE--

THE STREET GANG MEMBER sets up the Acetylene cutter in front of a door.

SCHREFF
(Hearing the plan over the open line)
Are you crazy?

The STREET GANG MEMBER stops his work and straightens up. SCHREFF and the other TWO TEENS look at him.

SCHREFF
What if the door is wired up already? Do you want to get the police out here right away?

STREET GANG MEMBER
(To SCHREFF)
Okay, but we've got to get in if we are going to search the whole building

SCHREFF
(Shouting)
But not by the door you idiot!

He shows disgust

SCHREFF
The office on the floor above... go through the ceiling

HIGH ANGLE--

THREE TEENS coming out of the hallway onto the fourth floor landing. They take out their walkie-talkies. One of them, wearing a rolled up balaclava, shouts.

BALACLAVA TEEN
Nothing!

OFFICE--SECOND FLOOR

The STREET GANG MEMBER again. He drills with some difficulty through the floor with a power drill. The TEEN WITH SIDEBURNS' legs can be seen next to him, where he stands holding a flashlight. The STREET GANG MEMBER's tool bag lies open on the floor beside him.

OFFICE--

The MURDERER, using the broken knife, tries to lever a long screw out of one of the up rights of a partition.

CLOSE--THE BROKEN BLADE

WIDER--

As he struggles to remove the screw by hand.

CLOSER---

He pulls out the screw.

OFFICE--SECOND FLOOR

The STREET GANG MEMBER and the TEEN WITH SIDEBURNS have managed to make a decent hole in the floor. The TEENS WITH SIDEBURNS begins to climb through the hole.

TEEN WITH SIDEBURNS
Right...Let's go

He lowers himself through the hole. The STREET GANG MEMBER leans over and watches him climb down.

OFFICE--HALLWAY

The MALE TEEN, still studying the log book, has now reached a position outside the door to the main offices. He is just about to enter the floor when he hears a faint sound of tapping, glancing around nervously, he stops to listen.

OFFICE--

The MURDERER, squatting beside the door, hammers something

CLOSE--

He flattens one end of the screw with the handle of the knife.

OTHER SIDE OF THE DOOR--

The MALE TEEN continues. Widely excited he makes for the stairs; but he suddenly remembers the log book and quickly jots down the time of the planned check. He pauses for a second to listen again and then rushes downstairs.

TOP FLOOR--

The MALE TEEN, log book in hand; races down the stairs from the sixth floor landing.

FIFTH FLOOR--

Some teens force a door on the fifth floor landing. As the MALE TEEN races past, one of them turns around.

5TH FLOOR TEEN
Hey what's up?

The MALE TEEN doesn't stop.

5TH FLOOR TEEN
Hey, can't you answer me? What's happening? Hey Pauly, you might tell us

FOURTH FLOOR--

A teen in a knit cap runs out into the hallway, cutting torch in one hand, gun in the other. He confronts the MALE TEEN

TEEN IN KNIT CAP
What's going on?

MALE TEEN
(Breathless)
I heard some banging!

Another teen emerges into the hallway, the MALE TEEN races past.

SECOND TEEN
What did you say?

TEEN IN KNIT CAP
What's the hurry?

OFFICE--SECOND FLOOR

The STREET GANG MEMBER who leans over the whole in the floor, shinning his flashlight to light up the floor below. Hearing the shouting, he jumps up.

He emerges into the hallway and grabs at the MALE TEEN as he passes.

MALE TEEN
(Shaking free)
I have to see Schreff!

FIRST FLOOR--
(MALE TEEN, TEEN, SCHREFF, OTHER VOICES, VOICES, FEMALE TEEN, GUARD, STREET GANG MEMBER, MURDERER, ANOTHER)

The MALE TEEN as he hurls himself towards SCHREFF, pointing franticly upwards.

MALE TEEN
(Out of breath)
In an office...top floor...I heard him knocking, I wanted you to hear it first

The STREET GANG MEMBER joins them

MALE TEEN
On the floor...In an office!

TOP FLOOR--OFFICE

In the office, the MURDERER has succeeded in bending the screw and tries to use it as a pick. He puts it into the lock and feels around with it.

HALLWAY--

The metallic sound of the screw inside the lock can still be heard, as SCHREFF and the others arrive. They stop to listen and the teens nudge one another expectantly.

SCHREFF
Shhhhhh...keep quiet!

The noise of the tapping can be heard clearly.

OFFICE--

In the office, the MURDERER, crouched behind the door, hammers at the screw on the floor. He studies his crude lock pick. He turns back to the door and is about to push the screw into the lock when the handle moves very slightly. The MURDERER backs away and presses himself against the wall, eyes bulging with terror and staring fixedly at the door handle.

HALLWAY--CLOSE ON THE LOCK

Two hands are testing a set of master keys selected from an assorted bunch on a key ring.

OFFICE--

The MURDERER presses his ear against the door to listen and then slips off towards the rear of the offices. His shadow disappears from the illumination around the edge of the door from the teens flashlight. A moment later, the door bursts open and SCHREFF appears in silhouette against the hallway light.

Behind him three flashlights click on.

SCHREFF
Get on with it, then

The three flashlight beams pass across the wooden partitions.

SCHREFF
He must be there

OTHER VOICES
There's the switch

The lights come on. The men see the room with the numerous cubicles, piled high with boxes and equipment.

SCHREFF
Look everywhere

Some teens begin to search in a cubicle

VOICES
Come on, just knock it down!

Two crooks knock down a cubicle patrician

GUARDS OFFICE--

The female teen sits by the window dressed as a guard. The MALE TEEN comes in excited.

MALE TEEN
We've got him!

FEMALE TEEN
(Getting up)
What?

MALE TEEN
He's in an office on the top floor!

FEMALE TEEN
Yea?

While the two teens are talking, the first guard moves. Though still lying tied up on the floor, he makes an effort to haul himself onto his knees and reach the nearby alarm.

MALE TEEN
Yes, I heard someone hammering

FEMALE TEEN
Who?

MALE TEEN
...and immediately told SCHREFF...

FEMALE TEEN
What did he say?

MALE TEEN
He's already up there with eight guys

FEMALE TEEN
That's good

MALE TEEN
They will get him any moment

FEMALE TEEN
You think so?

The two teens are face to face

MALE TEEN
I just came down to tell you

FEMALE TEEN
Great

MALE TEEN
(Importantly)
If I hadn't been on the alert we might have been looking for him for hours

The MALE TEEN rises quickly and grabs the FEMALE TEEN by the shoulder. The GUARD, on his knees, lifts his handcuffed hands towards the phone directly connected to the police.

GUARD
(Franticly into the receiver)
Cool jet air manufacturing, need assistance, help!

CUT TO:

INT. POLICE STATION -- NIGHT
(DISPATCH OPERATOR)

The call for help is received by the DISPATCH OPERATOR

DISPATCH OPERATOR
Nine one one

CLOSE--

The call screen displays the address of the factory

DISPATCH OPERATOR
Nine one one, how can I help you

CLOSE--

The call display. The address lights up red indicating an emergency.

DISPATCH OPERATOR
(Into her dispatch radio)
All units we have a nine eleven at three one four Burris drive, proceed with caution

CUT TO:

INT. OFFICE BUILDING --TOP FLOOR OFFICE -- NIGHT
(MALE TEEN, A TEEN, TEEN, SCHREFF, VOICE, SEVERAL VOICES, ALL, MURDERER, ANOTHER)

The MALE TEEN bursts into warn the men searching there. He shouts something incomprehensible.

MALE TEEN
Let's get out of here!

A TEEN
Are you nuts!

General hubbub

MALE TEEN
Yes, the cops will be here any minute. The guard grabbed the phone

TEEN
Let's get out of here!

They make for the door

SCHREFF
Stop! Quiet

Schreff approaches

SCHREFF
We've five minutes more and just the back rooms to search carry on. Get on with it. Only hurry! Come on, now!

The CROOKS start searching again. One of them fiddles with the lock on the door. Schreff pushes him aside.

SCHREFF
Out of the way we haven't got time for that

He crashes against the door with all his weight to break it open.

REAR SUPPLY ROOM--

The murderer hides amongst boxes of paper, weak with fear. Light feebly penetrates the room. The sound of doors being forced open comes gradually closer.

VOICE
He's not in here

SCHREFF
Next room!

Noise of splintering wood and tearing hinges.

SCHREFF
Come on quicker!

The noise draws nearer and the MURDERER ducks down further and further into his corner.

VOICE
Not here either

SCHREFF
Shit! Keep looking!

As we hear the noise of another breaking door, the MURDERER disappears completely behind the boxes of supplies, only his hat is visible.

SCHREFF
Hurry, three minutes left

VOICE
Hurry up, quick!

SEVERAL VOICES
This one's locked...he must be here...go on open it...some things against the door...let me do it!

SCHREFF
Hurry up. One minute left

Deafening noise as the door is forced down and furniture crashes to the floor. Panic-stricken the murderer leaps to his feet, spot-lit by a powerful flashlight beam. His face grotesquely twisted with fear.

VOICE
Here he is...hear he is...the sick bastard!

CUT TO:

EXT. THE COURTYARD -- NIGHT
(FEMALE TEEN, STREET GANG MEMBER, TEEN, GUARD, MALE TEEN, MURDERER, SCHREFF, TEEN WITH SIDEBURNS)

A parked car in the street behind the gates which are stilled pulled back. The FEMALE TEEN on guard by the opening, checks on the men as they stream silently through, loaded with bags which they throw into the car before slipping out of sight down the street.

FEMALE TEEN
Get going. Hurry up!
(Whistles through her fingers)
Everybody out!

The MALE TEEN runs past, pulling his coat on over a guards jacket. The STREET GANG MEMBER pushes him outside.

STREET GANG MEMBER
Go on! Move!

Other crooks pass through.

STREET GANG MEMBER
Come on hurry up. Quick!

The FEMALE TEEN goes back inside

FEMALE TEEN
Christ! Get back out while you can, hurry!

The FEMALE TEEN makes for the door as the STREET GANG MEMBER runs past the guards office. A few stragglers come out of the building.

STREET GANG MEMBER
Anybody left?

TEEN
A few up top...They're on their way

STREET GANG MEMBER
No reason for you to wait for them. With or without the guy, it doesn't matter get away

He throws up his arms in despair

STREET GANG MEMBER
What are they up to, for Christ's sake...

He goes back into the building

STREET GANG MEMBER
Finally

A final group leaves the building and the STREET GANG MEMBER follows them. Two teens carry the MURDERER down the steps, tied up struggling.

SCHREFF, still in his policeman's uniform and the TEEN WITH SIDEBURNS are the last to leave. Ominous silence.

CUT TO:

INT. OFFICE BUILDING-GUARDS OFFICE -- MOMENTS LATER
(FEMALE TEEN, TEEN, A VOICE, THE VOICE, GUARD)

The first guard lies unconscious, wrists cuffed together. Two other GUARDS, slumped together in a corner lie tied up and unconscious.

VARIOUS SHOTS--

Broken doors on a couple of floors and on the top floor.

HIGH ANGLE--SECOND FLOOR

A flashlight beam sweeps across the floor of the floor of the room and rises towards the hole in the ceiling.

FEMALE TEEN
Hey! He's not down here

No reply

FEMALE TEEN
Hey! Somebody down there?

The FEMALE TEEN's face comes into view, looking up from below.

FEMALE TEEN
Hey this isn't funny, somebody give me a hand

Somebody extends a hand through the hole.

FEMALE TEEN
(Irritably)
Bunch of morons

The FEMALE TEEN grabs the hand and uses it as leverage to climb up through the hole, a flashlight clicks on and shines straight into her face.

FEMALE TEEN
Hello

A second flashlight lights him up

A VOICE
Put your hands where I can see them

FEMALE TEEN
What?

THE VOICE
Out of there

Pull back as the FEMALE TEEN climbs out of the hole, sits on the edge and raises his hands. Pull further back to reveal that she's surrounded by Police Officers.

FEMALE TEEN
I'm innocent!

CUT TO:

INT. DETECTIVE GRAHAM'S OFFICE -- NIGHT
(FEMALE TEEN, DETECTIVE GRAHAM, TEEN, OFFICER, GUARD, THE OFFICER)

The FEMALE TEEN finishes her sentence

FEMALE TEEN
...As the day I was born

The FEMALE TEEN sits by DETECTIVE GRAHAM's desk. The room is brightly lit. GRAHAM is a distinguished, well groomed man about forty. Behind him sits a uniformed FEMALE OFFICER taking notes. She looks at the teen with mild surprise and then over to GRAHAM. GRAHAM leans toward the teen.

DETECTIVE GRAHAM
I believe you

FEMALE TEEN
(Not altogether reassured)
Hmmm
(Nervously laughs)
Then every things fine
(Gets up)
I can leave then...

DETECTIVE GRAHAM's hand comes into shot and gestures to her to sit down.

DETECTIVE GRAHAM
One minute! Sit down

FEMALE TEEN
Oh

Crest fallen, the FEMALE TEEN slumps back into her chair.

DETECTIVE GRAHAM
I'll let you go

GRAHAM leans back, rocking his chair

DETECTIVE GRAHAM
On condition you tell me...

He pauses. The teen looks on nervously

DETECTIVE GRAHAM
...who the man was you were looking for...and found in the building

On these last words, he lets himself fall forward, while the teen slumps back into his chair and throws his hands up, feigning surprise.

FEMALE TEEN
I don't understand, a man, you said? No, I don't know anything about that. There must be some mistake. I don't know anything, nothing at all.

DETECTIVE GRAHAM
Of course
(Slyly)
Only I don't understand why you are covering up for the gang who left you in the lurch

DETECTIVE GRAHAM sits back in his chair and cusps his hands

DETECTIVE GRAHAM
Funny friends! Leaving you right in it and running off

FEMALE TEEN
(Smiling maliciously)
Nice try detective

DETECTIVE GRAHAM takes some notes. The officer takes the opportunity to take a break. The teen looks around worryingly. She tries to read what Graham is writing, but can't make it out.

FEMALE TEEN
After all...

Not very sure of herself, the teen pauses, then after a moment, she begins again.

FEMALE TEEN
After all, I'm not risking very much

INSERT--OF THE HOLE IN THE OFFICE FLOOR

FEMALE TEEN
Maybe a little damage, but nothing was stolen

RESUME--DETECTIVE GRAHAM's OFFICE

DETECTIVE GRAHAM
Your wrong, something was stolen. In fact a good deal...

The FEMALE TEEN leans forward, surprised

FEMALE TEEN
What?

She is rising to the bait

FEMALE TEEN
Stolen? How much?

DETECTIVE GRAHAM
If you talk, I'll tell you

FEMALE TEEN
I've already told you, I know nothing

DETECTIVE GRAHAM
All right

He gets up

DETECTIVE GRAHAM
Well, think about it, it's amazing what one remembers...
(Getting to his feet)
...when one's left alone for a couple of days

A door opens

DETECTIVE GRAHAM
Take her to a holding cell

Someone taps a hand on the teen's shoulder, she rises and leaves the room, we TRACK in on GRAHAM. Who watches her thought fully.

DETECTIVE GRAHAM
(To the officer)
Get the guard sent in

He sits down and opens a file

OFFICER
Get the guard, Horowitz

Graham raises his eyes and looks towards the door. We follow his look: The OFFICER shows the GUARD in.

DETECTIVE GRAHAM
Sit down

The GUARD sits in the chair in front of the desk. Graham continues to study the file.

DETECTIVE GRAHAM
How then, you said in your statement...

He raises his eyes to the GUARD

DETECTIVE GRAHAM
Listen carefully...

The FEMALE OFFICER begins to write

DETECTIVE GRAHAM
...you may have to repeat it under oath...

He reads from the file

DETECTIVE GRAHAM
...that you clearly heard...

The GUARD's right cheek is swollen

DETECTIVE GRAHAM
...that one of the teens said to the other: 'We've found him...'

The GUARD nods his head, winces with pain, and holds his cheek.

DETECTIVE GRAHAM
'...I've discovered the guy. He is in that office'. Is that correct?

GUARD
Yes, detective...oooh
(Grimaces with pain)
Yes, detective...I would swear to what ever you wish

GRAHAM closes the file

DETECTIVE GRAHAM
Right, you may go home and rest now, but please keep yourself at the disposal of the police

The GUARD gets up

GUARD
Oh course, detective...oooh
(Painfully)
He goes out, holding his jaw

DETECTIVE GRAHAM
Take it easy

GRAHAM remains for a moment, deep in thought. We TRACK in as he picks up the phone.

DETECTIVE GRAHAM
(Into the phone)
Tell me, is Detective Lawson in the building...Oh good...He's talking to somebody? No it doesn't matter. I'll come up

CUT TO:

INT. LAWSON'S OFFICE -- NIGHT
(LAWSON)

Lawson sits at his desk, framed against a large map of the city on the wall behind him. Now he is in short sleeves, his collar open and the tie loosened, and he looks tired and harassed. He is on the telephone and with one hand pours out coffee from a small coffee urn.

LAWSON
(Into the phone)
What? Good. Hasn't come in yet... You're watching the old girl, that Mrs. Warden, eh?

A knock at the door

LAWSON
Come in

NEW ANGLE-- LAWSON SITS IN HIS CHAIR
(LAWSON, DETECTIVE GRAHAM)

From this angle, the size of his chest is enormously exaggerated.

LAWSON
(Into the phone)
We've surrounded the whole block. If we wanted to get home, he'd run into us. Now you have to wait. I'll be in my office if you have some news

He hangs up and straightens in his chair and takes a sip of his coffee which he finds distasteful.

LAWSON
Shit!

DETECTIVE GRAHAM enters, a file in hand and sits in a chair in front of the desk. Lawson adds some cream to his coffee

LAWSON
What do you want?

DETECTIVE GRAHAM
I wanted to ask you...

LAWSON drinks his coffee

DETECTIVE GRAHAM
...a favour

LAWSON
(Drinking)
Fuck...this coffee is shit

DETECTIVE GRAHAM
I wanted to ask you...

GRAHAM places the file on the desk

DETECTIVE GRAHAM
Anyway, read a bit of that

LAWSON takes a bite from a sandwich and picks up the file, marked reports.

LAWSON
Reports?

DETECTIVE GRAHAM
Yeah...

LAWSON opens up the report. The first page carries the date 'November, 25th 2004'

DETECTIVE GRAHAM
...burglary at an appliance plant

The page so turned

DISSOLVE TO:

POLICE STATION--
(OFFICER)

The nine one one officer receiving the call

DISSOLVE TO:

THE FACTORY OFFICE--
(LAWSON)

A map of the office building at Burris Drive and King

LAWSON
Burris?

DISSOLVE TO:

CLOSER-OFFICE BUILDING--
(LAWSON)

The main entrance of the building with gates half open and the guards office lit up.

LAWSON
That's a very quiet neighbourhood

DISSOLVE TO:

THE GUARDS OFFICE--
(LAWSON, GUARD)

The GUARD lies unconscious on the floor of his office.

LAWSON
...perhaps it's not as quiet as all that...

DISSOLVE TO:

THE GUARDS OFFICE--
(LAWSON, GUARD)

The other bound GUARD lies in the corner.

LAWSON
Hell, this is getting serious

DISSOLVE TO:

AN OPEN DOOR--

On the same floor, with the lock punched out.

DISSOLVE TO:

ANOTHER DOOR--

Also forced

DISSOLVE TO:

IN LAWSON'S HANDS
(ANOTHER)

Another page is turned

DISSOLVE TO:

ANOTHER DOOR--
(LAWSON, ALL)

A drill still sticks in a hole and all around the lock there is a circle of holes.

LAWSON
Did they intend to empty the whole place, then?

DISSOLVE TO:

THE BASEMENT--
(LAWSON)

The door to the boiler room has been smashed.

LAWSON
(Amazed)
What can they have been looking for in the boiler room?

DISSOLVE TO:

THE BOILER ROOM--
(LAWSON)

As seen through a shattered door.

LAWSON
Look at that incredible

DISSOLVE TO:

THE FILE--
(ANOTHER)

In LAWSON's hands. Another page is turned.

DISSOLVE TO:

THE TOP OFFICES--
(LAWSON)

The door of every room has been forced and the cubicles trashed.

LAWSON
Good lord

DISSOLVE TO:

REAR OF OFFICE--
(LAWSON)

The doors to the supply rooms are completely smashed to pieces.

LAWSON
(Clicks his tongue)
This is crazy!

DISSOLVE TO:

SUPPLY ROOM--
(ALL)

All the furniture is turned up side down.

DISSOLVE TO:

CLOSE--HOLE IN THE CEILING
(LAWSON)

On the second floor, an abandoned drill lies nearby

LAWSON
What were they after? Money? Checks?

DISSOLVE TO:

CLOSE--A FLOOR SAFE

Untouched

DISSOLVE TO:

CLOSE--PAY ROLE DEPARTMENT
(LAWSON)

Also untouched

LAWSON
I don't understand it at all

DISSOLVE TO:

CLOSE--ANOTHER SAFE
(LAWSON)

Also intact

LAWSON
They haven't even attacked that one. Were they all crazy?

DISSOLVE TO:

THE FILE -- EVENING
(LAWSON, DETECTIVE GRAHAM, ANOTHER)

The last pages turn

RESUME--LAWSON'S OFFICE

LAWSON AND GRAHAM at LAWSON's desk.

LAWSON
(Lifts his head)
Well, I'll be damned!

DETECTIVE GRAHAM
Well, what have you got to say? Nothing stolen, but a man was taken away, god knows where

LAWSON
Great!

LAWSON pours another cup of coffee.

DETECTIVE GRAHAM
And the punk we arrested isn't talking. Frightened evidently. Actually I understand her type...She's nickel and dime, b and e's not murder

LAWSON adds milk to his coffee and takes a sip.

DETECTIVE GRAHAM
If we could...set a trap for her...

A huge smile spreads across LAWSON'S face.

DETECTIVE GRAHAM
Could you help me out, Lawson?

LAWSON
(Grimacing at the taste of the coffee)
I see what you are getting at...Well then, lets take a look at this kid

CUT TO:

INT. PRISON CELL -- NIGHT
(GUARD, FEMALE TEEN, OFFICER, TEEN)

The FEMALE TEEN stretches out on a ebb, her legs in the foreground. The cell door opens. A GUARD and THREE OFFICERS appear.

GUARD
You're wanted for questioning

The FEMALE TEEN sits up.

FEMALE TEEN
What? For people for me?

OFFICER
Come on

The FEMALE TEEN shrugs, rises and exits. The GUARD shuts the door.

CUT TO:

INT. LAWSON'S OFFICE -- NIGHT
(FEMALE TEEN, TEEN, LAWSON, OFFICER, THE OFFICER, GUARD, ANOTHER)

The FEMALE TEEN and an OFFICER enter. The OFFICER sits. The OFFICER sees a plaque on the wall and examines it with concern.

CLOSE--THE PLAQUE

It's an award for excellence to the members of the homicide department. At the top of the plaque we see the name 'Kurt Lawson', Head of Department' followed by a list of other names and rank.

WIDER--

The FEMALE TEEN stares at the list.

FEMALE TEEN
(Unhappily)
Homicide? Detective Lawson...

A door opens. The FEMALE TEEN turns. LAWSON has come in, hands in his pockets.

FEMALE TEEN
(Frightened)
What do you want with me? What does homicide want with me?

After a moment, LAWSON stops in front of the FEMALE TEEN.

LAWSON
Yes...your case has been passed over to me

The FEMALE TEEN, very worried, wrings her hands. LAWSON stands in front of her.

FEMALE TEEN
But...but why? What for?

LAWSON
You did your work a little too well

The FEMALE TEEN nervously fixes her shirt.

FEMALE TEEN
(In a choked voice)
Yes?

LAWSON
(Meaningfully)
One of the guards...

INSERT--HOROWITZ THE GUARD

He sits at a table, in his home, an enormous plate of sausage and potatoes in front of him. He drinks some beer, wipes his mouth and takes another bite of sausage.

RESUME--

On LAWSON and the FEMALE TEEN in LAWSON's OFFICE

LAWSON
(In a choked voice)
Dead?

LAWSON paces around the office.

LAWSON
Planning and assisting with a murder...that's not good Francis

FEMALE TEEN
(Choking)
I can't go on with it. I don't want to have anything to do with that

LAWSON picks up a file and flicks through it.

FEMALE TEEN
(Breaks down)
I'll tell you everything...Everything I know

LAWSON
(Casually)
Very wise, but unfortunately too late

The FEMALE TEEN moves nearer and pleads with LAWSON who turns his back on him.

FEMALE TEEN
Sir. It can't be too late...Please, listen...I'm going to tell you everything...even who we were looking for in that damn building

LAWSON straightens up, triumphant and interested, but does not turn around.

LAWSON
Well then...

FEMALE TEEN
The murderer...the child murderer

LAWSON'S mouth drops open in amazement. A pause. Dumbfounded, LAWSON without thinking, raises his hand into a fist as if to cheer. He looks confused for a moment, but quickly recovers his composure and picks up a note pad.

LAWSON
What? What?...Who?

FEMALE TEEN
The pervert

LAWSON points his finger towards the teen.

LAWSON
Wait a minute

LAWSON quickly stands and exits out the door, which he closes behind him.

NEW ANGLE--LAWSON'S PRIVATE BATHROOM

LAWSON strips off his jacket, bends over the sink and puts his head under cold running water.

RESUME--ON LAWSON'S OFFICE

FEMALE TEEN
(Sighs to herself)
This had to happen to me! Of all people

A door opens behind her. She turns, LAWSON comes back in, looking happy and satisfied. He has his jacket on and rubbing his hands, sits down behind his desk.

LAWSON
Right...now, we're going to have a little talk

FEMALE TEEN
(Hopelessly)
I think I need a lawyer

LAWSON
You can use my phone

CUT TO:

EXT. FACTORY -- DAY
(LAWYER, FEMALE TEEN)

The battered facade of an empty factory almost a ruin

LAWYER
My client wishes to tell you what she knows

FEMALE TEEN
You know the old elevator factory on Ferrie...

CUT TO:

A CORNER OF THE BUILDING
(LAWSON)

LAWSON
The one that's been closed up for a while

CUT TO:

INT. FACTORY -- DAY
(FEMALE TEEN, MURDERER, A VOICE, SCHREFF, BLIND BEGGAR, VOICES, VOICE, PROSTITUTE, A BIKER, LAWYER, TEEN WITH SIDEBURNS, BIKER, VARIOUS VOICES, ONE EYED BIKER, BIKER WITH A MOUSTACHE, A WOMEN, ANOTHER, YOUNG PROSTITUTE, MAN, WRESTLER, A LITTLE MAN, STREET

Sunlight gleams through broken windows and numerous holes in the roof.

FEMALE TEEN
Yes, since it closed, the city forgot about it...

WORKSHOP--

In the gloom of an abandoned workshop inside the factory is a shadowy staircase. Two men come down the steps and disappear into the gloom. In the distance, cries of pain gradually draw nearer.

MURDERER
What do you want with me? Let me go...Let me go!

A VOICE
Go on..Keep moving...Go on

The two men reappear, pushing the MURDERER up the staircase. He struggles furiously although his jacket has been pulled over his head. At the top of the steps, a third man has come to open a door for them.

MURDERER
(Struggling)
I've done nothing to you...Let me go, you ass hole

ANOTHER FLIGHT OF STEPS

An iron door is flung open. The third man enters and stands at the top of the steps.

MURDERER
Let me go

The two others push the MURDERER violently down the steps.

MURDERER
Bastards!

The MURDERER has fallen to the bottom of the steps.

MURDERER
Bunch of bastards!

One of the men EXITS, closing the iron door behind him as he goes. The remaining two men stand on the top step and look down.The MURDERER flings his coat off his head.

MURDERER
What do you want with me? Bastards! What do you want?

He turns and stops dead in his tracks.

WIDE--HUGE FACTORY CELLAR

MURDERER'S POV

Assorted members of various gangs stare at him. We PAN along the entire length of the cellar to reveal that a vast crowd has assembled--bikers, teen gang members, pimps, prostitutes, beggars and other rough looking types--some standing, most seated on boxes and crates. There is absolute silence and no one moves. PAN continues until it reaches a card table set up in front of them. Behind it sit the TEEN WITH SIDE BURNS, THE MALE TEEN, THE STREET GANG MEMBER, on either side of SCHREFF--obviously a crude form of tribunal and as usual, SCHREFF is in charge.

MURDERER
What the fuck is this!

RESUME ON MURDERER...

...and the two men on the stairs.

MURDERER
Let me go...I want out...

He tries to climb up a few steps.

MURDERER
Let me go

WIDE--CELLAR

A general view of the tribunal, dimly lit from the aging ceiling lights.

MURDERER
Let me go, and I won't say a word

SCHREFF
(Firmly)
That's true, because you are not leaving alive

The two men on the staircase block the MURDERER'S way. He turns back to face the crowd.

MURDERER
Please...

His hair a mess, he comes down the steps.

MURDERER
(Appeals to them)
Please, I don't even know what you want me for

He takes a few hesitant paces forward.

MURDERER
I beg you, let me go. I haven't done anything...

A hand reaches above the MURDERER'S head, feeling around in the air.

MURDERER
...wrong...there has been a mistake...

The hand falls on the MURDERER'S head, his voice breaks off.

BLIND BEGGAR
No...no...no mistake...impossible. There is no mistake

PULL BACK to show the MURDERER and the BLIND BEGGAR. The MURDERER turns toward him. The BLIND BEGGAR withdraws his hand.

BLIND BEGGAR
No, no mistake

MURDERER
What do you mean?

We PULL BACK further so that the BLIND BEGGAR's other arm comes into view. He holds a poise. He shows it to the MURDERER.

BLIND BEGGAR
Do you recognize it? It is a flower like the one you gave to Anna Mariano

The MURDERER stiffens with fear at the mention of the name. The BLIND BEGGAR holds a bunch of posies in his hand and slowly crumbles them.

CLOSE ANGLE--

The MURDERER follows the petals of the flowers fall to the floor with horrified eyes.

CLOSER--

The petals sway gently very close to the camera

HIGH ANGLE--

The faces of the crowd are a confused blur in the background

BLIND BEGGAR
A flower like that...

MURDERER
(Gibbering)
An...An...Anna...An...Anna

He backs away terrified by the crushed flower petals, until he stumbles against the table. The MURDERER's voice grows more and more high pitched.

MURDERER
No, no, no...

NEW ANGLE--

The MURDERER, near the table.

SCHREFF
Where did you...

On SCHREFF's first words, the MURDERER turns to a threatening SCHREFF who has a photograph in front of him on the table of a little girl.

SCHREFF
(Leaning forward ominously)
...bury little Martine?

MURDERER
But I never...I never even knew her

SCHREFF
(Sarcastically)
Oh yes, very good. You didn't even know her

SCHREFF waves another photograph.

SCHREFF
And what about this one?

The MURDERER backs away, now helpless with fright.

SCHREFF
And this one?

The MURDERER chews his fingers. SCHREFF's gloved hand shows a third photograph we recognize Anna's face.

SCHREFF
...and this one. You didn't know this one either, eh?

The MURDERER is now crazy with fright. Panic stricken, he spins around in a mad dash for the exit. One of the men who brought him in sits at the foot of the stairs; he jumps up to bail the way as the crowd begin to jump up and down hysterically.

VOICES
Stop him...stop him...don't let the pervert escape!

The crowd surges forward. Only SCHREFF remains calmly seated.

VOICES
Stop him...he can't get away!

The MURDERER rushes the man on the stairs, pushing him violently out of the way, and then climbs desperately towards the iron door.

VOICES
Quick, stop him...hold him...watch the door!

At the top of the stairs, the MURDERER tries to open the door but a man grabs him by the collar.

A VOICE
Hold him...hang on to him

The MURDERER hangs onto the door handle with both hands. The crook holds him from behind. Two others come to his aid.

A VOICE
Go on...go on...hit him...nail him!

CLOSE--THE MURDERER'S CONVULSED FACE

A hand seizes him by the throat.

MURDERER
(In a strangled voice)
Let me go...let me go!
(Almost in tears)
Please! You have no right

VOICES
We will show you what right you have!

WIDER--

The three men try to make the MURDERER loosen his grip, a fourth crook comes up the stairs to help them. One of them kicks him in the stomach. The general shouting gets louder as more people crowd the stairs.

CLOSE--

The man kicks the MURDERER. The MURDERER's hand still grasps the iron door's handle.

A VOICE
Go on...in his stomach

CLOSE--

The MURDERER receives another violent kick to the stomach

WIDER--

The struggle at the door. A man tries to hit the MURDERER's hands.

VOICES
Break them

CLOSE--

The man's fist violently striking the MURDERER'S fingers, the shock makes him let go.

WIDER--

The group draws back from the MURDERER and throws him down the stairs.

The MURDERER falls heavily to the ground, banging his head sharply against the wooden railing. He lies twisting in pain while the crowd cheers and hoots triumphantly.

MURDERER
(Groaning)
You have no right it hold me here

A prostitute gets up furiously.

PROSTITUTE
(Screaming fanatically)
Right? Someone like you doesn't have any rights!
(Roaring)
Kill him!

A BIKER
(Next to her rising)
Kill him!

PROSTITUTE
Put this sick dog out of his misery!

The crowd grows very animated

A VOICE
Kill him!

SCHREFF turns impatiently to the crowd.

SCHREFF
Quiet!

A VOICE
Kill him! Kill him!

SCHREFF
(Shouts)
Shut the hell up!

A regal gesture from SCHREFF and the crowd calms down. When the noise dies down completely, he turns towards the MURDERER.

SCHREFF
You talk of rights...okay we will be fair

PAN--

Across the attentive faces of the crowd as SCHREFF continues.

SCHREFF
We are all law experts here, from six weeks in Barton, to fifteen years in Kingston...

SCHREFF gestures to the crowd.

SCHREFF
You will be given your rights...you will even have a lawyer
(Ironically)
Everything will be done according to the law

The MURDERER crouches against the wooden barrier holding his broken hand.

MURDERER
(Screaming)
Are you sick?...A lawyer!...I don't need a lawyer...You will need a lawyer! Not me!

A hand reaches down and taps him on the shoulder. The MURDERER turns around. A fairly old, ill looking man leans toward him across the wooden railing. He is the LAWYER. In front of him, on a crate, a pile of dusty Canadian criminal and civil law books.

LAWYER
Eh...just a moment...If I were you sir, I'd keep quiet. Your life's at stake...in case you didn't know

The MURDERER rises and leans towards the lawyer seated behind the crate. He stairs with amazement.

MURDERER
Who the hell are you?!

LAWYER
(Greets him with roll of his hand and a bad English accent)
I have the dubious honour of being your defence counsel. But I am afraid it won't be much use to you

The LAWYER blows some pencil shavings from his note pad.

MURDERER
(To the LAWYER)
But...but...do you want to kill me then?
(Horrified)
Murder me, just like that?

SCHREFF
We just want to be assured your harmless. That's what we want...but you'll only be harmless when you're dead

MURDERER
But, if you kill me, the cops will be all over you, you will sent to prison for life

Laughter echoes around the cellar. The LAWYER sighs and shakes his head sadly.

MURDERER
Just call the cops on me

The laughter increases. The MURDERER raises his voice.

MURDERER
If I am found guilty of the crime you say I am, is that not justice enough!

Loud laughter from the crowd. SCHREFF and the TEEN WITH SIDEBURNS watch, unconcerned; behind them, the crowd rocks with laughter.

A VOICE
Quite a performance. That's not bad

SCHREFF
(To the MURDERER)
That would suite you, wouldn't it?

TEEN WITH SIDEBURNS
(Ironic)
Anything else you would like?

SCHREFF
So that you can say that you were crazy at the time...

A VOICE
Sure he was

SCHREFF
...and spend the rest of your life in an institution at the peoples expense...or worse, there would be a pardon and there you are, free as a bird, with a pass, protected by the law because of mental illness. Off again chasing little girls. No, no. Very wrong. We're not going to let that happen

A VOICE
(Echoing)
No, no, no

SCHREFF
We must stop your evil ways. You must disappear

A VOICE
Yea, I agree

The MURDERER sobs with fear

MURDERER
But...I can't help what I do!

He falls to his knees and miserably puts his hands to his head.

MURDERER
I can't help it...I can't...I can't...I can't help it

In the front row of the crowd, a biker rises to his feet and waves dismissively.

BIKER
(With contempt)
The same old story! 'We never can help it'...tell it to the judge

A long pause as the MURDERER, on his knees, helplessly lowers his hands.

MURDERER
(In complete despair)
What do you know about it? What right do you have to judge me?

He turns his head to look at them all.

MURDERER
Who are you?...all of you?...criminals! Even proud of yourselves? Proud of being able to break into some ones home, beat some one up or pull a con job...things you couldn't just as well keep your hands off...you wouldn't need to do all that if you had gotten an education...or got a job. If you weren't a bunch of lazy bastards...but I...

His hands clutch at his chest.

MURDERER
I can't help myself! I haven't control over this evil thing that's inside me...the fire, the voices, the torment

A sceptical SCHREFF sits at the table; behind him the crowd listens intently.

SCHREFF
You mean to say you have to murder?

MURDERER
(Agonized)
Always...always, there's this evil force inside me...it's there all the time, telling me to go out to wonder the streets... following me. Silently, but I can feel it there...it's me, pursuing myself, because...

An OLD MAN in the crowd nods thoughtfully, moved by the MURDERER's genuine anguish.

MURDERER
I want to kill it...kill this evil that stalks me!

Two other crooks. One of them very moved.

MURDERER
...but it's impossible. I can't. I can't escape
(Panting)
I have to obey it, I have to run...run...streets...endless streets. I want to escape. I want to get away

Ring around the rosy plays in the mind of the killer at a deafening volume. Losing control, the killer screams trying to silence the nursery rhyme, that is the song of the beast inside him.

MURDERER
(Rocking back and forth)
And I am pursued by ghosts. Ghosts of mothers. And of those children...they never leave me.
(Shouts desperately)
They are there, there, always, always! Always except!...

The nursery rhyme stops.

MURDERER
(Lowers his voice)
...except when I do it...when I...

He raises his hands towards his neck as though he were about to strangle a victim, then he lets them fall limp at his sides. He shakes his head.

MURDERER
Then I can't remember anything...and after words I see those newspapers and read what I have done...I read...and rad...did I do that? But I can't remember anything about it...But who will believe me? Who knows what it feels like to be me. How I'm forced to act...how I must...don't want to, but must...must...don't want to must...

The nursery rhyme in his head starts again.

MURDERER
(Shouting)
...and then...a voice screams...I can't bear to hear it!

He puts his head against the wooden barrier, mimicking the figure in the painting 'The Scream', covering his ears with his hands.

MURDERER
(At the height of his fit)
I can't...I can't go on. Can't go on...Can't go on...Can't go on...

SCHREFF and THE TEEN WITH SIDEBURNS sit, the crowd behind them. SCHREFF rises to his feet as the MURDERER'S voice dies away.

MURDERER
I can't go on...

SCHREFF
(To the crowd)
The accused has said that he cannot help himself. That is to say: he has to murder. As this is the case, he has pronounced his own death sentence

VOICES
Yes..Yes

SCHREFF
Someone who admits to being a compulsive murderer should be sentenced to death

A VOICE
Right!

SCHREFF
(Louder)
This scourge of society must be eliminated

Applause and shouts. The MURDERER, on his knees, rubs his head against the barrier, his hands still over his ears. The noise continues. Behind SCHREFF and the TEEN WITH SIDEBURNS, the crowd is in a frenzy.

VARIOUS VOICES
I agree, just what I think...

The LAWYER gets up. Beside him, the MURDERER cringes.

LAWYER
I wish to speak

The crowd quiets down.

LAWYER
(Ironically, off SCHREFF)
Our very honourable President who is, I believe wanted by the police for three murders...

SCHREFF
(Very angry)
Shut up you old fool!

LAWYER
...claims that because my client acts under an irresistible impulse, he is condemned to death

A VOICE
That's exactly it...yes...he's right

LAWYER
(Shakes his head)
He is mistaken...because it is that very fact that clears my client

Members of the crowd look puzzled: a ONE EYED BIKER, A PROSTITUTE, An older man built like A WRESTLER.

THE ONE EYED BIKER
Hey, just a second, that's enough

Other faces in the crowd look on sternly. In the foreground sits a BIKER WITH A MOUSTACHE

BIKER WITH A MOUSTACHE
Are you nuts, you old drunk?

LAWYER
It is this very fact of obsession which makes my client not responsible...and nobody can be punished for something which he is not responsible for

Whistles and cat-calls.

VOICE
That's crazy

PROSTITUTE
(Furious jumps to her feet)
Do you suggest by any chance that this pervert should get off?

BIKER WITH A MOUSTACHE
(Bitterly)
That he should stay alive?

LAWYER
I mean that this man is sick. And a sick man should be handed over, not to the executioner, but to the doctor

TEEN WITH SIDEBURNS
Could you guarantee he'd be cured?

LAWYER
What if he just walks out of a clinic and never comes back?

SCHREFF
Yes...or if they released him as no longer a threat? And what if the voices tell him to kill again? Yet another man-hunt for several months. Another insanity plea. Back through the system again and then another escape or release. And then murder, all over again. And so on and so on.

LAWYER
No one has the right to kill a man who is not responsible for his actions. Not the justice system and certainly not you. This country must take care that this man becomes well and ceases to be a danger to his fellow citizens.

During his plea, the crowd becomes excited and they begin to shout and bawl at the top of their voices. His last words are almost loss in the general laughter. A prostitute gets up.

PROSTITUTE
You've never had children, eh? So you haven't lost any either. But if you want to know what it's like to lose one of your kids...

Another women tries to calm her.

PROSTITUTE
...then go ask the parents of those children he got at

Amid the different groups of onlookers, an enormous biker listens, close to tears.

PROSTITUTE
Ask them what those days and nights were like when they didn't know for sure what was up...and about the one's when they finally knew what happened
(Screaming)
Ask the mothers!

The MURDERER still crouches against the railing, his hands over his ears.

A WOMEN
She's right

PROSTITUTE
Ask the mothers!

VOICES
Yes, the mothers...the mothers...ask them...do you think they'll have mercy on a child-murderer?

In the crowd, the fever rises.

A BIKER
She's right

ANOTHER
You got that right

PROSTITUTE
No mercy...no pardon...

A BIKER
Give him to us, the pervert

2ND BIKER
Kill him, the monster

A prostitute in the front row screams her rage. Behind her, a man in a ball cap is also worked up.

YOUNG PROSTITUTE
Crush him, the sicko

MAN
(Simultaneous)
Kill him

WRESTLER
Skin him alive

ONE EYED BIKER
Hang him

A VOICE
Beat him

A LITTLE MAN
Kill him

ANOTHER
Kill him

The whole furious mob rages on.

VOICES
Lets end this now...he's guilty...kill him...kill him

LAWYER
All that shouting won't silence me!

The noise dies down. The crowd waits but not appeased.

LAWYER
I will not allow a crime to be committed in my presence. I demand that this man...

A VOICE
(Interrupting)
He isn't one!

LAWYER
(Carries on)
...that this man be granted the protection of the law, which is every bodies right

A VOICE
To hell with that...to hell with him

Whistles and shouts from the crowd.

LAWYER
(Very loud)
I demand that this man be handed over to the police

The crowd and the leaders of the tribunal are in an uproar.

A WOMEN
(Hysterically)
That's absurd!

STREET GANG MEMBER
(Furious)
Filthy bum!

The frenzy has reached its height. Everyone shouts, whistles and screams at the same time. From every side, bikers and prostitutes throw themselves towards the murderer...they beat and kick him repeatedly...The MURDERER tries to ward off the blows as the beating continues...then his body goes limp. Everyone freezes, and all eyes fix on the cellar door.

Taken by surprise, the bikers and women stand still--and slowly raise their hands. Only SCHREFF remains seated. He tips back his chair arrogantly. After casting a long look around at the assembled crowd and seeing that there is no hope, he gets up abruptly and raise his hands.

The MURDERER's body lies motionless in a fatal position against the railing. TRACK in on him as a police officer's hand is placed on his neck checking for a pulse.

A VOICE
Hamilton police department, stop...

DISSOLVE TO:

INT. COURT ROOM
(CHIEF JUSTICE, MRS. MARIANO)

Empty chairs at a long table, the Supreme Court Justices enter and sit. The CHIEF JUSTICE adjusts his robe.

CHIEF JUSTICE
In the name of the people...

Mothers dressed in black sit forlornly nearby, listening, crying. Among them MRS. MARIANO

MRS. MARIANO
This won't bring our children back. We, too, should keep a closer watch on our children.

FADE OUT:

THE END