DIAGNOSIS MURDER
"Obsession - Part Three"
TEASER
FADE IN:
A recap of events from the two-part, season finale -concluding
with the last few scenes of the episode. Mark spots Caitlin
Sweeney in the elevator, waving good-bye at him. Mark hits the
fire alarm and tells everyone to get out of the building as
fast as they can. Our heroes are running towards us when THE
WALLS EXPLODE all around them. And as they are cut off by a
BLAST, we GO outside Community General Hospital as the ENTIRE
FIFTH FLOOR EXPLODES.
END OF TEASER
"Obsession - Part Three" 7/8/98 YELLOW 2.
ACT ONE
FADE IN:
1 EXT. COMMUNITY GENERAL HOSPITAL - NIGHT 1
The street is thick with smoke. Dozens of CAR ALARMS shriek.
Bits of BURNING RUBBLE are strewn everywhere. We find a PARKED
CAR, the ROOF SMASHED, the WINDOWS SHATTERED. There's a BODY
on top of it. The BODY rolls off the roof and onto the
PAVEMENT. It's RON WAGNER. He struggles to his feet. his face
BLOOD STREAKED, his clothes SCORCHED AND TORN. He stares back
at the building, and then at the car, in disbelief. Wagner
can't believe he's alive... and on his feet. Now he begins to
hear the CRYING, MOANING and SCREAMING of SURVIVORS and
BYSTANDERS. As he staggers forward, a SHOCKED PARAMEDIC rushes
up to him.
PARAMEDIC
I was backing up to the emergency
room when the building just...
just...
(then, losing it)
There was fire everywhere.
Wagner pushes past him to his PARAMEDIC UNIT and reaches in
for the radio.
WAGNER
This is FBI Special Agent Ron
Wagner. There's been a bombing at
Community General hospital. We
need rescue units right away.
RADIO VOICE
Help is already en route. Please
stay where you are.
Wagner tosses the mike back into the unit and slumps against
the ambulance, staring back at the building.
WAGNER
Amanda.
And on his pain and concern, the sound of SIRENS approaching,
we CUT TO:
2 INT. VOID - NIGHT 2
MARK stands in an empty space. It's impossible to tell if it's
a tiny corner or an infinite void. He looks around, confused.
MARK
Where am I?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 3.
2 CONTINUED: 2
That's when a MAN'S VOICE booms out.
MAN'S VOICE
Go to the light.
MARK
What light? Who are you?
Mark whirls around, searching for the source of the voice, but
he sees nothing.
MAN'S VOICE
Go to the light.
MARK
I don't see a light.
He turns again, and then he does see it -- a RED LIGHT, fuzzy
and out of focus. It's not what he expects... but looks
somehow familiar.
MARK
What is this place?
There's no answer. Mark gets closer to the light. It's still
out of focus.
MAN'S VOICE
Come on, Dr. Sloan, you mean you
really don't know?
And now, suddenly, the light comes INTO FOCUS. It's a red
sign. Reading ON AIR.
MAN'S VOICE
You're live on KCDM with Carter
Sweeney.
Mark wheels around and sees the barest bones of a radio
station -- more like an expressionist set for a stage play
than anything approximating reality. CARTER SWEENEY sits in
front of a microphone, gesturing Mark towards the open guest
chair.
CARTER
Today our topic is mass murderers.
And we have with us one of the
best, Dr. Mark Sloan.
And now Mark finds himself sitting in the guest chair,
speaking into the microphone.
MARK
I'm not a murderer.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 4.
2 CONTINUED: (2) 2
CARTER
How many people died when
Community General blew up?
MARK
Your sister planted those bombs.
CARTER
It's always someone else, isn't
it, Doctor?
(before Mark can
respond)
I see this is going to be a wild
hour. But before we listen to Dr.
Sloan's rationalizations, let's go
to our first caller.
He pushes a button on his console -- maybe the button is all
there is to the console.
AMANDA'S VOICE
Mark? Can you hear me?
MARK
Amanda?
And suddenly there is a BLINDING WHITE LIGHT and we're:
3 INT. COMMUNITY GENERAL - NARROW SPACE - NIGHT 3
Mark Sloan regains consciousness, blinking open his eyes and
wiping blood away from an ugly head wound. He finds himself
wedged into a cramped space created by the collapse of the
floor above him. There's barely enough room to sit up. SMOKE
and LIGHT seep in from UNSEEN FLAMES.
AMANDA'S VOICE
Mark.
He hears Amanda's weak cry again. Dizzy and disoriented, he
crawls after her voice, finding a BODY covered in broken glass
and rubble. It's AMANDA. He lifts the heavy rubble off of her.
She's moaning in pain and wheezing.
MARK
I'm here, Amanda. Don't move.
He starts to examine her. as best he can with his fuzzy vision.
AMANDA
What happened?
MARK
Caitlin Sweeney. I saw her in the
hallway. She did this.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 5.
3 CONTINUED: 3
AMANDA
Are you all right?
MARK
I'm having trouble focusing and
I'm...
(then, forcing a
smile)
It's just a mild concussion. I'll
shake it off.
AMANDA
Like a building fell on my chest.
MARK
Okay, you stop talking for a while
and let me take a look at you.
(then)
Of course, I'll need proof of
insurance and there are some forms
you'll have to fill out.
And as she smiles despite her pain, and Mark continues his
examination, we CUT TO
4 JESSE 4
He stirs awake slowly, finding himself in a strange bed, his
head on a pillow. There's an odd sound he can't quite place:
TINK TINK TINK. He reaches up to adjust his pillow and feels
something odd. Pulls his hand back and looks at it -- blood.
STEVE
It's not yours.
Now fully awake, Jesse turns and sees he's:
5 INT. COMMUNITY GENERAL HOSPITAL - EXAM ROOM - NIGHT 5
Or at least, what's left of it. There are sharp beams of
EMERGENCY LIGHTS. and the entire room seems to be tilting at
an odd angle -- until Jesse realizes that the hospital bed
he's lying on is listing sharply to one side. And the TINK
TINK sound continues.
STEVE
You weren't bleeding at all.
Now Jesse turns and sees STEVE standing by the door, one arm
hanging uselessly by his side. He doesn't seem to notice. He's
got a piece of a broken IV stand and he's using it to tap the
bolts from the hinges. He's got the bottom one out already,
and he's working on the top. But with one arm, he's not
getting a lot of leverage, and the bolt hardly moves.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 6.
5 CONTINUED: 5
JESSE
What are you doing?
STEVE
Door's stuck. I think the frame's
bent.
Jesse gets up from the bed, and stops, dizzy.
JESSE
What happened?
Steve doesn't know. Just keeps tapping on the bolt.
JESSE
Where's Mark?
STEVE
Not in here.
Which may explain why Steve doesn't even look away from his
work. Jesse takes a step forward -- and stops as his foot hits
something. He looks down: there's a BODY on the floor, dressed
in hospital pajamas. Jesse kneels down to it.
STEVE
Chunk of concrete came down on the
bed. I don't think Mr. Campbell
has to worry about his leukemia
anymore.
Jesse sees the HUGE CHUNK OF CONCRETE lying on the floor next
to the body. He shakes his head, trying to piece together what
happened.
JESSE
You put me on the...?
Steve doesn't answer, and Jesse begins to understand just how
much Steve has done for him.
STEVE
You want to help me with these
hinges, or what?
Jesse goes over to Steve. But before he can do anything to the
door, he sees that Steve's shoulder and arm are covered in
blood.
JESSE
How long has this been bleeding?
STEVE
Since I tore my wounds open
lifting that concrete off Mr.
Campbell.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 7.
5 CONTINUED: (2) 5
JESSE
I thought I told you to take it
easy with those stitches.
STEVE
You told me not to play volleyball.
JESSE
Next time I'll be more specific.
Jesse starts digging around in the rubble.
STEVE
Next time I'll have a real doctor
stitch me up.
JESSE
The call button's over the bed.
Why don't you see who answers?
There it is -- a roll of bandage, buried in the remains of a
supply cabinet. He goes over to Steve, who keeps tinking away
at the bolt. Jesse tries to pull his shirt away, but Steve
ignores him.
JESSE
This would be easier if you'd help.
STEVE
There's a thought that never
crossed my mind.
Jesse takes the IV pole fragment from Steve and guides him
over to the bed.
JESSE
I just got off disciplinary
probation here, and the hospital
administrators aren't going to be
too happy with me if I let my only
patient bleed to death.
STEVE
For all you know, the
administrators are dead.
JESSE
That's good, look on the bright
side.
(then)
Steve, as a police officer, I'm
sure you're familiar with the
concept of shock.
Steve takes the piece of the IV pole back and heads toward the
door. Jesse blocks the way.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 8.
5 CONTINUED: (3) 5
JESSE
What I'm saying is I think you're
becoming familiar with the concept
from the inside now. Because the
rational thing to do is let me
bandage your wounds before we
worry about that door.
STEVE
My dad is out there.
JESSE
And if he were in here, you know
he'd say the same thing I'm saying.
Steve brushes past Jesse to head for the door.
JESSE
Of course, him you might listen to.
(then)
I'll make you a deal. If you agree
to sit on the bed quietly, I'll
open the door before I bandage
your arm.
(off Steve's look)
I've got two good arms and all my
blood. Believe me, it's a much
more efficient way to work.
Steve thinks about that, then hands Jesse the piece of the IV
pole. Jesse leads him to the bed, then goes to the door.
JESSE
Besides, I've got the fastest
hands at Community General. Ask
any of the nurses. Well, any that
I've dated.
He glances back over his shoulder to see how Steve is looking.
Not good. Jesse redoubles his efforts, and, working with both
hands, manages to get the bolt most of the way out of the
hinge.
JESSE
See, we're almost there.
He slips the IV pole fragment between the door and the frame
and gives it a tug. The door pulls away just far enough for
Jesse to get his hands in.
JESSE
Voila.
He yanks the door out of the frame and turns, beaming, to
Steve.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 9.
5 CONTINUED: (4) 5
But Steve still isn't smiling, just staring grimly over
Jesse's shoulder. Jesse turns to follow his gaze. His face
falls.
6 JESSE'S POV - THE DOORWAY 6
is completely blocked by concrete and steel.
7 BACK TO SCENE 7
And on Jesse's grim look:
8 EXT. COMMUNITY GENERAL - DAY 8
Day is breaking over the disaster scene. DOCTORS and EMTs have
set up a TRIAGE in the parking lot for the injured. RESCUE
CREWS scramble to and fro. FIREFIGHTERS aim STREAMS of WATER
at the building. We HEAR CHOPPERS overhead. We find Wagner
and BATTALION CHIEF McQUEEN temporarily bathed in the harsh
glow.
MCQUEEN
The explosions occurred on the
fifth floor. We've managed to
contain the fire and keep it from
spreading. The lower floors have
been evacuated and survivors from
the upper floors are being
airlifted off the roof.
WAGNER
What about the people on the fifth
floor?
MCQUEEN
We're getting to them as fast as
we can.
WAGNER
It doesn't look like it to me.
MCQUEEN
Half of the sixth floor has
collapsed onto the fifth and I'm
concerned that what's left of that
could crush the fourth.
WAGNER
So you're just going to stand here
and watch the building fall?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 10.
8 CONTINUED: 8
MCQUEEN
I want to reach any survivors that
may still be in there... but I
also have to consider the safety
of my men. We have to go slowly
and carefully, for everyone's sake.
WAGNER
The longer you take the less
chance anyone still alive up there
has.
MCQUEEN
It's a miracle you survived, Agent
Wagner, I like to think that means
luck is on our side today.
McQueen walks away. And on Wagner, bristling with concern and
impatience, we GO TO:
9 INT. COMMUNITY GENERAL HOSPITAL EXAM ROOM - DAY 9
As Steve, his shoulder bandaged and wounded arm in a sling,
directs Jesse, who slowly, carefully extracts a PIECE OF
CONCRETE from the bottom of the pile blocking the door.
STEVE
Most people would start at the top
and work down.
JESSE
Not if they had my mother. They
put the rotten fruit on top so
people buy it first, she used to
say.
STEVE
This isn't a supermarket.
JESSE
The principle's the same. By the
time I was ten, I could remove the
entire bottom layer of oranges
without dropping one.
He reaches further into the pile and feels around for another
piece to pull out.
STEVE
Does the principle change if the
oranges are the only thing keeping
an entire floor of the hospital
from crashing down on us?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 11.
9 CONTINUED: 9
JESSE
Just the stress level.
He comes out with another chunk.
JESSE
I'm almost through.
STEVE
Mrs. Travis would be proud.
JESSE
Mrs. Travis was never proud.
That's the whole reason I became
a doctor.
STEVE
To impress your mother?
JESSE
Of course, four years of college,
six years of med school, and at my
graduation, she says to me, how
come you couldn't open a nice
flower shop like your cousin Morty?
Now he's excavated far enough he's got to get down on his
stomach and crawl into the hole to get out another piece.
STEVE
So what did you want to do with
your life?
That's when a TREMOR shakes the hospital. Steve freezes. So
does Jesse, or at least what we can see of him. As the tremor
passes, Jesse wriggles out of the hole with a piece of rubble.
He looks pale, but tries to hide it.
JESSE
Barbecue.
(then)
It's open.
He gestures to the tiny passage he's created. Steve gets down
on all fours.
STEVE
Barbecue?
Jesse shrugs, and Steve starts to pull himself through the
tiny opening.
"Obsession - Part Three" 7/8/98 YELLOW 12.
10 INT. COMMUNITY GENERAL - CORRIDOR - DAY 10
Steve and Jesse emerge from the pile of rubble blocking the
exam room door. As they head toward the rubble strewn, fiery
lobby, they talk, if only to distract themselves from their
dire predicament...
JESSE
A little place, sawdust on the
floor, all the dry roasted peanuts
you can eat.
STEVE
Yeah, peanuts. And six big screen
TVs, different game on every one.
(off Jesse's look:)
Something to do when I retire,
maybe, run a place that'd be like
a second home for my friends.
JESSE
Why should we go after our dreams
now? If we get out of this, let's
promise not to put off what we
really want.
STEVE
Deal.
That's when they hear FAINT, DESPERATE CRIES coming from the
CLOSED ELEVATOR DOORS. Steve puts his ear to the door.
STEVE
(to Jesse)
There are people trapped in the
elevator.
Jesse finds a twisted piece of REBAR and jams it between the
elevator doors. And as they struggle to force open the doors,
we CUT TO:
11 INT. VOID - DAY 11
Mark sits across from Carter Sweeney.
CARTER
And we're back with Mark Sloan,
noted surgeon and mass murderer.
MARK
I never killed anyone.
CARTER
Then I guess my producer made a
mistake booking you. Please accept
my apologies.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 13.
11 CONTINUED: 11
MARK
Of course.
CARTER
But as long as you're here, I hope
you won't mind talking to one of
our other guests.
MARK
I'd be happy to.
CARTER
Then let's bring on one of Mark
Sloan's first victims.
Before Mark can respond, DA SHARON ELLISON is standing before
them.
CARTER
Sharon, you died in a fiery
explosion. What did that feel like?
ELLISON
It's funny, Carter, they always
say you die instantly, but to me,
it felt like hours. First, it was
just the unbearable heat searing
my skin. Then I could feel the
shock wave tear my body apart.
MARK
(to Carter)
You put the bomb in that
warehouse. You sent her there to
die.
CARTER
Your son could have stopped her
from going to her death. Why
didn't he?
MARK
We thought she was the bomber.
ELLISON
You spent months relentlessly
pursuing Carter Sweeney for the
bombings, and then you just
changed your mind?
CARTER
And then changed it back once poor
Sharon was dead?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 14.
11 CONTINUED: (2) 11
MARK
(to Sharon:)
He framed you. And then he killed
you.
ELLISON
Tell the truth, Doctor. You hated
me for humiliating you. You wanted
me dead.
MARK
I wanted the bombings to stop,
that's all.
ELLISON
You wanted me dead -- and now I am.
CARTER
And we'll be right back, after
this important message.
He pushes the button on his console and --
AMANDA'S VOICE
Mark, tell me what's wrong.
Mark tries to clear his head, there's a FLASH OF WHITE and
we're:
12 INT. COMMUNITY GENERAL NARROW SPACE - DAY 12
Amanda takes Mark's hand and squeezes it. He blinks back to
awareness, trying to clear his head and focus on Amanda again.
He smiles reassuringly, trying to mask his concern and his
fear.
MARK
You're going to be fine. Try not
to talk. Just relax until help
gets here.
AMANDA
I'm pretty sure I've got a broken
collarbone, maybe some broken
ribs. But I need you to tell me
the rest.
Mark doesn't want to do this.
AMANDA
We've never lied to each other,
Mark. This would be a lousy time
to start.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 15.
12 CONTINUED: 12
MARK
You do have a broken rib.
He doesn't want to go on.
AMANDA
And?
MARK
It's punctured the lung.
Silence. She knows what that means.
AMANDA
The pressure in my chest...
MARK
Every time you breathe, you're
filling your chest cavity with air.
AMANDA
If that trapped air isn't released
soon, my other lung will collapse.
I'll die in seconds.
MARK
We'll be rescued before that can
happen.
AMANDA
What if we aren't?
Mark takes her hand in his.
MARK
I won't let you die, Amanda. I
promise.
And on Mark's worry, and Amanda's fear, we FADE OUT.
END OF ACT ONE
"Obsession - Part Three" 7/8/98 YELLOW 16.
ACT TWO
FADE IN:
13 EXT. COMMUNITY GENERAL - DAY 13
As RESCUE CREWS rush OUT OF THE BUILDING, Wagner grabs McQueen.
WAGNER
What's happening?
MCQUEEN
We found an unexploded bomb in the
rubble. No one goes in until it's
defused. The bomb squad is
handling it.
WAGNER
Show it to me.
Wagner starts for the building, McQueen stops him.
MCQUEEN
You can't go in there.
WAGNER
The bomb won't defuse itself.
MCQUEEN
You're an FBI agent. You're not a
member of the bomb squad.
WAGNER
Not too long ago I deactivated a
nuclear weapon. I think that
qualifies me.
MCQUEEN
And today you were blasted through
a fifth-floor window onto the hood
of a Buick.
(then)
You're in no shape to play with
explosives. In fact, you're in no
shape to be standing.
WAGNER
Like you said, it's my lucky day.
He tries to push past McQueen, but the big man isn't budging.
MCQUEEN
I'm the only reason you're not
strapped to a gurney being wheeled
out of here. That can change.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 17.
13 CONTINUED: 13
WAGNER
The person I care about most in
this world is in there. I will get
her out.
MCQUEEN
So will I.
(then)
But if there is one unexploded
bomb there could be others.
Setting one of them off won't help
her. Now go back behind the lines
or you're on the next ambulance to
County Hospital.
Wagner reluctantly turns away. And on McQueen looking after
him, we CUT TO:
14 INT. COMMUNITY GENERAL - NARROW SPACE - DAY 14
Mark scrabbles on the ground and comes up with a JAGGED PIECE
OF METAL. He glances back at Amanda, who lies, gasping for
breath, then breaks off a piece of COPPER TUBING from the wall.
AMANDA
Preparing the operating room?
Mark comes over to her, examines her, the jagged piece of
metal in his hand.
MARK
It won't come to that.
AMANDA
It's getting harder to breathe.
MARK
Someone will be here soon. Take
shallow breaths and try to stay
calm.
AMANDA
It would be easier if I couldn't
see that scrap metal you're
holding.
Mark notices he's still holding the jagged piece. He moves it
out of her sight.
AMANDA
I'd guess that's the scalpel. What
are you going to use for the chest
tube -- a drinking straw?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 18.
14 CONTINUED: 14
MARK
I wish we had one.
He holds up the copper tubing. She looks at it grimly.
AMANDA
You're going to cut me open with
a scrap of metal and shove a pipe
into my chest.
MARK
Only as a last resort.
AMANDA
What time is it?
He squints at his watch.
MARK
I don't know. Eight.
AMANDA
My flight was at seven.
(then)
I promised CJ the nanny would take
him to meet me at the airport.
MARK
You'll get there. Just a little
late.
She looks at him for reassurance, sees the fear and exhaustion
in his eyes.
AMANDA
If it's okay, I'd like to sleep
for a while.
She squeezes his hand, then closes her eyes. Mark stares at the
15 SCRAP OF METAL 15
until is goes out of focus, then snaps back in as we find
ourselves:
16 INT. VOID - DAY 16
Carter Sweeney reaches across and takes the piece of metal out
of Mark's hand.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 19.
16 CONTINUED: 16
CARTER
We're back with Mark Sloan, and
he's about to explain why he let
my sister blow up Community
General Hospital.
MARK
I didn't know she was going to do
it.
CARTER
The brilliant Dr. Sloan, who
figured out every one of my moves,
never considered that my sister
was a part of my bombing campaign?
MARK
I considered it, but --
CARTER
But you didn't act on it.
MARK
There was no evidence.
CARTER
You put her father on death row,
where he was executed. Now you've
put her beloved brother in prison.
It never occurred to you she might
want vengence?
MARK
I didn't realize how deep your
family's sickness ran. I thought
she was the one Sweeney who wasn't
a psychopath.
CARTER
That's one explanation. Here's
another: You wanted her to blow up
that building.
MARK
Why would I want that?
CARTER
You gave Community General 30
years of dedicated service, and
how did they repay you? They fired
you, humiliated you, took away
your license to practice medicine.
MARK
Because of you.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 20.
16 CONTINUED: (2) 16
CARTER
Yes. Because they believed me,
instead of their loyal friend and
employee. You were enraged.
MARK
I understood...
CARTER
They turned on you, Dr. Sloan, and
you hated them for it.
MARK
I forgave them.
CARTER
Then you admit, you did hate them.
MARK
I was angry. But when I'm angry,
I don't kill people like you do.
I'm not responsible for this.
CARTER
The bombing of this hospital is a
direct result of your obessesion
with catching me. Do you think my
sister would have blown this place
up if you weren't in it?
MARK
Someone had to stop you.. my
conscience is clear.
CARTER
If that's true, then why are we
here?
And on Mark's look:
17 INT. COMMUNITY GENERAL - LOBBY 17
Steve and Jesse force open the doors -- reopening Steve's
wound in the process -- to find the CRUSHED ELEVATOR dangling
by DANGEROUSLY FRAYED CABLES. Only a small portion of the
elevator is exposed, just enough to see the tops of people's
heads.
JESSE
Stay calm. We're going to get you
out. Is everyone okay?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 21.
17 CONTINUED: 17
WOMAN'S VOICE
One man has a massive crush
injury. His leg is pinched between
the elevator and the shaft. His
pulse is rapid and thready.
JESSE
Susan?
WOMAN'S VOICE
Jesse?
Suddenly NURSE SUSAN HILLIARD'S face comes into view. Bruised,
scratched, but otherwise fine. She reaches out to embrace him
and he pulls her out of the elevator. As they hug each other
tightly, Steve begins to help the others out of the elevator.
about five "civilians."
STEVE
Is this everyone?
Susan reluctantly separates herself from Jesse.
SUSAN
Except for the guy trapped inside.
Jesse makes his way to the elevator. Steve stops him.
STEVE
That cable could snap any second.
JESSE
Then I better hurry.
(off Steve's look)
Do you really want me to make one
of those "I'm a doctor" speeches?
STEVE
I'm in enough pain already.
Steve steps aside. Jesse climbs in. The moment he disappears
from view, a CABLE SNAPS, and the ELEVATOR TIPS, CREAKING AND
GROANING. Susan rushes forward, but Steve stops her. A moment
later, Jesse peaks up from the elevator, scared to death.
JESSE
Would someone please turn up the
elevator music?
STEVE
Get out of there, Jesse.
Jesse swallows his fear and tries to put on a brave face.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 22.
17 CONTINUED: (2) 17
JESSE
I'm going to stop the bleeding,
amputate his leg, and get both of
us out of here.
STEVE
Tell me what I can do.
The elevator CREAKS and GROANS. Jesse tries to stay calm.
JESSE
Get those people out of here and
bring back help.
STEVE
I'm not going to abandon you.
JESSE
Someone has to make sure these
people get out safely.
(motions to Steve's
arm)
And you need to go to a hospital,
preferably one that's not on fire.
Susan turns to Steve.
SUSAN
Don't worry, I'll stay with him.
(off Steve's look)
Do you really want me to make one
of those "I'm a nurse" speeches?
Steve glances between her and Jesse and shakes his head.
Besides, he knows they're right.
STEVE
You two deserve each other.
SUSAN
I know.
She smiles.
SUSAN
Be careful. And hurry.
Steve gathers the people together and motions them to follow
him. Susan leans into the elevator.
SUSAN
What do you need, doctor?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 23.
17 CONTINUED: (3) 17
JESSE
Find me a pneumatic tourniquet,
150 mg ketamine on an IM needle,
a #20 blade, and a Gigli saw.
And as she goes off to get what he needs, we CUT TO:
18 INT. NARROW SPACE - DAY 18
And on Mark hesitating, staring into nothing, his hand
SHAKING, holding the sharp metal over a panicked Amanda, her
breathing horribly labored, we CUT TO:
19 INT. VOID - DAY 19
Mark sits across from Carter.
CARTER
We're in our final segment with
Dr. Mark Sloan. In fact, I think
it's safe to say that Dr. Sloan is
in his final segment, too. The air
is running out, the doctor is
hallucinating, and Amanda is dying
right next to him.
Carter shoots Mark a smile:
CARTER
But we do have time for one last
caller.
He pushes a button on the console.
CARTER
Caller, do you have a few last
words for Dr. Sloan?
AMANDA'S VOICE
Help me, Mark!
MARK
Amanda?
Carter looks around, annoyed.
CARTER
Who put this caller through?
He punches the button on his console, but it doesn't help.
AMANDA'S VOICE
Mark, what he's saying, you know
it's all lies.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 24.
19 CONTINUED: 19
CARTER
Damn crank calls. Can't we kill
this line?
AMANDA'S VOICE
You couldn't have known that going
after Carter would end up this way.
CARTER
Of course he should. He's Mark
Sloan, deductive genius. He's
smarter than everyone else, didn't
you know that?
MARK
No, I'm not. I'm a doctor, I look
at a problem, I make a diagnosis,
and I try to treat it. That's all.
CARTER
You heard it here first on KCDM,
Mark Sloan isn't as smart as you
or, dare I say it, me. I guess
that's why so many people died
today.
Mark rises from his seat, shaking with rage.
MARK
You're no different than a
disease. I didn't make you, I'm
not responsible for how your
sickness spreads. But I'll do my
best to stop it.
He gets in Carter's face.
MARK
And I'm not finished yet.
Mark slaps down the button on Carter's console and we're:
20 INT. NARROW SPACE - DAY 20
Mark leans over Amanda, who is unconscious and NOT BREATHING.
He takes the jagged piece of metal and jams it into her side
and begins his work. And on his grim determination, we CUT TO:
21 INT. COMMUNITY GENERAL - LOBBY 21
Susan helps drag the INJURED MAN out of the elevator, a
PRESSURE CUFF on his leg, the line from it leading to a
NITROGEN CANISTER not far away. She checks on the patient.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 25.
21 CONTINUED: 21
Jesse starts to climb out after him when he hears A CABLE
SNAP. Susan grabs Jesse by both hands and YANKS HIM HARD out
of the cab as THE OTHER CABLES SNAP and we HEAR the ELEVATOR
FALL. A CLOUD OF DUST and SPARKS coughs out of the shaft.
Susan and Jesse lie face down on the floor, head-to-head, eyes
closed with relief.
JESSE
From now on, I'm taking the stairs.
And on their nervous smiles, we CUT TO:
22 EXT. COMMUNITY GENERAL - DAY 22
Steve and the survivors rush out of the hospital and are
quickly intercepted by RESCUERS, who rush them away from the
building to the emergency vehicles.
STEVE
Why didn't I see any of those guys
in the building?
WAGNER
There's an unexploded bomb inside.
They've called off the rescue
effort until it's defused.
Steve stares back at the building in horror, then grabs a
OXYGEN TANK and HELMET from a vehicle and starts to put it on,
despite the pain of his injury.
MCQUEEN
What the hell do you think you're
doing?
STEVE
I'm going back in.
MCQUEEN
I can't let you do that.
STEVE
Try and stop me.
Wagner grabs a TANK and HELMET, too.
WAGNER
Make that two of us.
MCQUEEN
The bomb squad has removed one
device, but it looks like there
may be more.
(more)
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 26.
22 CONTINUED: 22
MCQUEEN (cont'd)
If you run in there now, you could
set off the explosives before they
have a chance to find and defuse
them.
(then)
You are putting any possible
survivors in there at risk.
STEVE
There are survivors. I made them
a promise. I'm keeping it.
WAGNER
And I'm his armed back-up.
McQueen turns to Wagner.
MCQUEEN
You go with him, and you're aiding
and abetting a felony. It's a
criminal offense to defy the
orders of the commanding officer
at an emergency scene.
Wagner glances at Steve.
WAGNER
Then I guess you'll have to arrest
me, Lieutenant Sloan.
McQueen looks at Steve anew.
MCQUEEN
Looking for a commendation,
detective, a headline or just a
quick promotion.
STEVE
I'm looking for my father, sir.
McQueen steps aside. He knows when he's beaten. Steve and
Wagner finish suiting up.
STEVE
(to Wagner)
Jesse and Susan are alive. I don't
know what's happened to Dad or
Amanda.
WAGNER
Let's find out.
Steve and Wagner rush towards the building when KA-BOOM --A
FIREBALL SPITS OUT of the BUILDING, BLOWING Steve and Wagner
off their feet.
"Obsession - Part Three" 7/8/98 YELLOW 27.
23 INT. NARROW SPACE - DAY 23
As Mark tries to force the copper tubing into Amanda's chest,
the BLAST of the bomb rips through the tiny space, sending
rubble crashing down on them.
24 INT. COMMUNITY GENERAL - LOBBY 24
Jesse and Susan are knocked off their feet, falling to the
floor with their patient as RAGING FIRE SHOOTS UP in front of
us, FILLING THE SCREEN with FLAMES. And we FADE OUT.
END OF ACT TWO
"Obsession - Part Three" 7/8/98 YELLOW 28.
ACT THREE
FADE IN:
25 INT. COMMUNITY GENERAL - LOBBY 25
Jesse and Susan half-carry, half-drag their patient away from
the flames, but just as they are about to reach a clear area,
a BURNING RAFTER falls in their path. They are trapped, ringed
by FIRE.
SUSAN
We're trapped.
Jesse looks all around.
26 HIS POV - THE FIRE 26
He spots a narrow break in the flames. A chance.
27 BACK TO SCENE 27
Jesse takes off his lab coat and gives it to Susan. He points
her towards the break.
SUSAN
What are you doing?
JESSE
Put this over your head and run as
fast you can.
SUSAN
No.
JESSE
There's no chance three of us can
get through that - but one of us
can. Don't argue.
He gives her a big kiss.
JESSE
Go - before the break closes.
Susan shoves the coat back in his arms.
SUSAN
Stop being so damn heroic. We're
all going. Or we'll all die trying.
(then, panicked)
Somehow, Captain Kirk sounded much
more confident when he said it.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 29.
27 CONTINUED: 27
JESSE
But you're a lot more beautiful.
Jesse takes her in his arms. That's when WHOOSH - rescue
workers blast the FLAMES with FIRE HOSES. STEVE and WAGNER
rush forward, followed by the other rescuers. Jesse motions
two EMTs to the patient.
JESSE
(to rescuers)
I had to amputate his leg. I've
ligated the vessels, so you can
take down the tourniquet. He'll
need some morphine before the
ketamine wears off.
Steve turns to Jesse.
STEVE
Where do you think you're going?
JESSE
With you.
STEVE
You've done everything you can do.
Get out of here.
JESSE
Not without Mark and Amanda.
Steve can't argue with that. Wagner is already moving down the
hall. The others follow.
28 INT. COMMUNITY GENERAL - CORRIDOR 28
The entire CORRIDOR is blocked by rubble. And on our heroes
sharing a grim look, we CUT TO:
29 INT. NARROW SPACE - DAY 29
Mark lies across Amanda, both of them covered with rocks and
other debris. Still. That's when the rubble above them opens
up. Steve peers in.
STEVE
No.
Steve feels Mark's neck for a pulse.
STEVE
He's alive.
(calls out)
Can I get some help here?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 30.
29 CONTINUED: 29
Steve and Wagner pull Mark out into
30 INT. COMMUNITY GENERAL - CORRIDOR 30
and lay him on the floor. We now see the floor is FULL OF
RESCUE WORKERS... and that JESSE and SUSAN are with them.
Jesse examines Mark.
MARK
Amanda. Help Amanda.
Wagner spins around and crawls back into the rubble, emerging
moments later with Amanda, the copper tubing still sticking
out of her chest. Wagner is about to pull it out when Jesse
quickly grabs his wrist, stopping him.
JESSE
It's okay -- I think Mark did this.
WAGNER
What?
Jesse takes Amanda's pulse, then listens to the copper tubing.
JESSE
She's breathing. She's alive.
(to Mark)
You saved her life.
Wagner shoots Mark a disbelieving look. Mark sags with relief.
Steve leans close to his father.
STEVE
What happened, Dad? How did you
know the building was going to
blow?
MARK
You mean you don't have her.
STEVE
Who?
MARK
Caitlin Sweeney.
(then)
I saw her. She did this.
Steve and Wagner share a look.
WAGNER
Then we better pray we find her
corpse in here - because if she's
still alive, if she's still out
there, this is only the beginning.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 31.
30 CONTINUED: 30
And on that grim possibility, we DISSOLVE TO:
31 EXT. TRINITY BANK - ESTABLISHING - DAY 31
SUPER: FOUR MONTHS LATER.
32 INT. TRINITY BANK - DAY 32
It's business as usual when men in OVERCOATS and BASEBALL CAPS
march in. At the same moment
33 THE SECURITY GUARD 33
reaches for his weapon.
34 THE MAN 34
nearest him is faster, whipping open his overcoat and pulling
out his AUTOMATIC WEAPON with practiced ease... only it JAMS.
35 INT. TRINITY BANK - WIDE ANGLE 35
The Security Guard gets off a shot, blowing the man off his
feet just as
36 ANOTHER MAN 36
whirls around and starts blasting his weapon at the same time,
wiping the area with bullets.
37 INT. TRINTIY BANK - WIDE ANGLE 37
As the spray of BULLETS shatters windows, splinters wood, and
TAKES DOWN THE GUARD.
All the customers and employees hit ground in panic, covering
their heads. The man jumps up on a desk, whips off his
baseball cap...and turns to face us.
38 TIGHT ON THE MAN 38
Actually, it's a WOMAN. It's CAITLIN SWEENEY. She smiles,
brandishing the weapon like a new toy.
CAITLIN
Woo! That was great. Anyone else
want to give it a try?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 32.
38 CONTINUED: 38
All she hears is whimpering and crying.
CAITLIN
C'mon, please. Don't leave a lady
hanging. I'm loaded with ammo and
ready to play.
Still no takers.
CAITLIN
Cowards.
Another soldier steps forward, a man we will come to know as
AARON VING. He pokes three bank employees with his gun.
VING
You. You. And You. Bring me money.
Now.
The three employees scramble to their feet and, hustled by
other soldiers, go into the vault. Caitlin jumps off the table
and joins Ving, pressing up against him provocatively.
CAITLIN
I like that. A lot. Can you feel
my heart racing?
VING
That's not all I'd like to feel.
But first, smile for the camera.
He motions to the security camera.
39 SECURITY CAMERA POV 39
As she gives us a cocky, defiant look and, maintaining her
gaze on us, gives Ving a big, deep-tongued, horny kiss. daring
us to do something about it. And we CUT TO:
40 INT. BEACH HOUSE - DAY 40
There's an OPEN CARTON on the floor for the NEW VCR that Mark
is just finishing setting up. He pops a CASSETTE in the
machine, and heads over to the couch, where a BIG BOWL OF
POPCORN is already waiting. He sits down on the couch, puts
the popcorn in his lap and AIMS THE REMOTE at the VCR...
... and is nearly BLOWN OUT OF HIS SEAT by a LOUD BLAST OF
MUSIC from the STEREO.
He aims the remote at the VCR, frantically clicking buttons,
but all he manages to do is TURN ON THE TV, which blasts an
EQUALLY LOUD EARFUL of STATIC at him.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 33.
40 CONTINUED: 40
Mark stands up and aims the remote at the VCR like a gun, and
hits some more buttons... and the VCR FIRES the VIDEO CASSETTE
OUT like a bullet, trailing a stream of TAPE. Mark ducks out
of the way, then rushes up to his entertainment center and
starts pulling plugs, quelling the noise and turning
everything off.
Mark is savoring the moment of silence just as Steve comes in,
apparently unaware of what has just happened.
STEVE
Aren't you getting tired of
hanging around the house watching
movies?
MARK
Exhausted.
STEVE
Good, then maybe you could give me
a hand at work.
Steve heads back to the entry hall. Mark immediately brightens
up and follows after him.
MARK
After four months of vacation,
waiting for the hospital to re-
open, unraveling a complex case is
just what I need to sharpen my
mind.
STEVE
Good.
41 INT. POLICE STATION - DAY 41
Steve sets a BULGING BOX OF FILES in front of Mark.
STEVE
You can start with A-E.
Mark glances down at the disorganized files in the box.
MARK
A-E?
STEVE
Okay, so I admit my reports aren't
exactly in alphabetical order yet,
but they will be. Actually, they
have to be. By Tuesday.
MARK
Today is Tuesday.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 34.
41 CONTINUED: 41
STEVE
Which is why I'm so glad I have
your help.
(off his Dad's look)
Think how much sharper your mind
will be tomorrow.
That's when they see Wagner approaching.
WAGNER
Caitlin Sweeney has come out of
hiding... in a big way.
MARK
Where?
WAGNER
Trinity Bank.
He takes a photo out of his jacket and holds it up to Mark.
It's CAITLIN SWEENEY, staring at us, a grin on her face.
WAGNER
Sixth hold-up this month. Eight
people dead so far.
He goes past them into the living room. Mark and Steve share
a look and follow.
WAGNER
We've got nothing on her. No leads
whatsoever. Frankly, we could use
your help.
(to Steve)
LAPD has assigned you to us until
this is over.
STEVE
Why didn't you bring us in before?
WAGNER
Bank robbery is a federal offense
and, frankly, my superiors felt
your judgement would be affected
by a personal grudge.
STEVE
She tried to blow up your
girlfriend.
WAGNER
I'm not sure they know about my
relationship with Amanda.
(off their looks)
Okay, I'm sure they don't.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 35.
41 CONTINUED: (2) 41
MARK
You hid it from them?
WAGNER
It never came up.
Wagner presses on, eager to avoid the subject.
WAGNER
Caitlin has aligned herself with
R.O.A.R. - the Revolutionary Order
for Armed Rebellion. They're a
militant group that believes that
our government is now controlled
by a conspiracy of foreign powers.
STEVE
"The United Nations Shadow
Government."
WAGNER
You've read their literature?
STEVE
I've watched the "The X Files."
WAGNER
ROAR's goal is to unite all the
militant groups in the nation,
from the Montana Militia to the
KKK, under their umbrella and lead
an armed rebellion against the
government.
MARK
What does that have to do with
robbing banks?
STEVE
Armed rebellion isn't cheap.
WAGNER
ROAR is going to bring the
factions together by having the
fattest wallet.
MARK
Caitlin Sweeney doesn't strike me
as a radical revolutionary.
WAGNER
Maybe the appeal isn't
philosophical.
Wagner shows Mark another SECURITY CAMERA photo of AARON VING,
20s, in military fatigues.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 36.
41 CONTINUED: (3) 41
WAGNER
This is their leader, Aaron Ving.
He's bounced around Aryan Nations,
The Branch Davidians, The Texas
Freedom Movement, any group that
will let him play with guns and
grenades.
STEVE
And this makes him irresistible to
women?
WAGNER
Just women with a grudge against
the government who like to blow
things up.
Mark shakes his head. This isn't working for him.
MARK
She blamed the city for killing
her father, not the Federal
government.
WAGNER
I don't see a big intellectual
leap between the two.
Wagner checks his watch.
WAGNER
I've got to go. I was supposed to
bring Amanda some dinner two hours
ago.
STEVE
How is she feeling?
WAGNER
She's out of bed, cleaning up a
perfectly clean house.
MARK
Sounds like she's almost back to
normal.
WAGNER
Thanks to being back here, with
her family and friends. I won't
take her away from that again.
MARK
You mean she doesn't resent me for
that scar on her chest?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 37.
41 CONTINUED: (4) 41
WAGNER
I think it's very sexy.
STEVE
Let's not go there. Please.
Wagner heads off to go when Mark's cell phone rings. Mark
answers it.
MARK
Mark Sloan.
CARTER'S VOICE
You're live on KCDM!
Mark freezes, momentarily disoriented.
MARK
Excuse me?
CARTER'S VOICE
Sorry, old habits are so hard to
break.
Mark frantically motions to Wagner, who stops.
MARK
What do you want, Carter.
And as the name registers on Steve and Wagner's faces, we
INTERCUT WITH:
42 OMITTED 42
43 INT. PRISON - DAY 43
Carter Sweeney is on a phone in the visitor's room, a guard
standing over him.
CARTER
Steamed vegetables. Pay-per-view.
A window with a view. You have no
idea how restrictive prison can be.
(then)
Oops, I forgot. You do.
MARK
What do you want.
CARTER
I'd like to go somewhere else now,
please.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 38.
43 CONTINUED: 43
MARK
That isn't possible.
CARTER
Another prison will do. One of
those upscale ones. Where I can
play chess with CEOs. Chat in the
jacuzzi with a senator or two. All
I need is a little help from my
friends to get there.
MARK
After what you've done to me and
this city, what makes you think I
would do anything to help you?
CARTER
Because I'll give you my sister.
And on Carter's smile, and Mark's doubt, we FADE OUT.
END OF ACT THREE
"Obsession - Part Three" 7/8/98 YELLOW 39.
ACT FOUR
FADE IN:
44 INT. PRISON - DAY 44
Mark sits across from Carter Sweeney, who reclines casually in
his chair in the visitor's room, his feet and legs chained to
a bolt in the floor. He clatters his chains.
CARTER
Ever since "Silence of the Lambs,"
this is prison chic. It's such a
cliche. Do I look like someone who
could free himself with a
paperclip and kill you with a
rubber band?
MARK
You look like someone who murdered
sixty people.
CARTER
You're not being objective.
MARK
No, I'm not.
CARTER
It's Caitlin you should be angry
with. She's the one who did all
this. And she's the one who put me
in here.
(then, whispers)
I think she may be mentally ill.
MARK
It runs in the family.
CARTER
We both loved our father, but it
was Caitlin who carried that
devotion too far.
MARK
Save it for the jury. It won't
work with me.
Mark gets up to go.
CARTER
Can you really live with all that
death on your conscience?
MARK
It's not on mine.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 40.
44 CONTINUED: 44
CARTER
And if more people die, and you
know you could have done something
to stop it...? What about then?
Mark glares at him. Carter smiles.
CARTER
All I'm trying to do is help.
We've been in contact. I can lead
you to her.
MARK
You expect me to believe that
you'd sell your sister out for
better accommodations?
CARTER
I'm doing it for her. She needs
help. Vengeance is only an excuse
for her.
(then)
She gets off on the bloodshed.
MARK
And you don't.
Carter meets his gaze.
CARTER
What about you? Most doctors try
to distance themselves from death,
but for you, it's a hobby. Why do
you really spend every free moment
wallowing in murder?
Mark goes to the door and calls out.
MARK
Guard.
CARTER
Is it the violence that thrills
you? Or is it the terror?
As the guard unlocks the door, Mark turns to Carter.
MARK
I'll see you at your trial.
CARTER
Next time, don't forget to bring
the paper clips.
He jangles his chains and smiles as Mark walks out. And we CUT
TO:
"Obsession - Part Three" 7/8/98 YELLOW 41.
45 EXT. COMMUNITY GENERAL - NEW WING - ESTABLISHING 45
Wow. This one is actually pleasant to look at.
46 INT. COMMUNITY GENERAL - NEW WING - DAY 46
It's very much like our old hospital, only with more vivid
colors and fresh decor. In fact, there is still SCAFFOLDING
and MEN AT WORK as we find Jesse, Susan, and lots of new
medical personnel unpacking and prepping the new ER.
SUSAN
Good thing the new cardiac wing
was nearly finished when the main
building blew up - or we wouldn't
have a hospital to come back to.
JESSE
We'd be forced to continue
sleeping in until noon, taking
long walks on the beach, having
picnics in the park, making love
all night long.
SUSAN
You can't do that forever.
JESSE
You obviously don't know me very
well.
SUSAN
Admit it - you're glad to be back.
You have a hands-on role shaping
the new E.R.
JESSE
I have a hands-on role with you.
He's reaching for her when Steve rushes in.
STEVE
We've got an emergency.
JESSE
We aren't even set up to handle a
paper cut yet.
STEVE
BBQ Bob's is going out of business.
JESSE
(stricken)
Oh my God.
SUSAN
What's BBQ Bob's?
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 42.
46 CONTINUED: 46
JESSE
Only the best BBQ place in Los
Angeles... perhaps the world.
SUSAN
Then why haven't you taken me
there?
Jesse and Steve share a look, then:
JESSE
(to Susan)
I don't know if we're that serious
yet. I didn't want to give you the
wrong idea.
Susan looks at them both like they are crazy.
SUSAN
You're getting all weepy about
some dive?
You want BBQ - come back to
Oklahoma and I'll show you what
it's really like.
She walks away. Jesse and Steve face each other.
JESSE
Forgive her. She doesn't
understand what she's saying.
(then)
What happened?
STEVE
BBQ Bob is retiring and moving to
Florida.
JESSE
He can't retire. He's like the
Pope of BBQ. The Chief Justice of
Spare-ribs. It's a lifetime
commitment.
(then)
This can't happen.
STEVE
It won't. We'll stop it.
JESSE
How are we going to do that?
STEVE
With money. We're gonna buy BBQ
Bob's and his secret recipe.
Jesse just stares at him.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 43.
46 CONTINUED: (2) 46
JESSE
Are you crazy?
STEVE
We made a vow when we were
trapped, remember? To go after our
dreams now.
JESSE
That wasn't a vow. That was a
conversation.
STEVE
We've already made an offer.
Before Jesse can reply Mark and Wagner emerge from the
elevator.
WAGNER
Did you get the call, too?
STEVE
What call?
MARK
The medical examiner came up with
something during his autopsy of
the bank robber.
STEVE
The guy was shot. What's the
mystery?
WAGNER
Let's find out.
47 INT. COMMUNITY GENERAL - PATH LAB 47
Again, not unlike the old path-lab, only with UPDATED
EQUIPMENT, VIVID COLORS, and NEW DECOR. Mark, Steve and Wagner
approach a PATHOLOGIST, who is standing over the corpse of the
DEAD BANK ROBBER. Wagner flashes his ID at the guy.
WAGNER
I'm Agent Wagner, this is Lt.
Sloan. What have you got for us?
WOMAN'S VOICE
Ants.
They glance across the room as AMANDA turns around, clad in
her medical scrubs. Mark and Steve share a pleased smile.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 44.
47 CONTINUED: 47
MARK
It's great to see you back on your
feet.
STEVE
I'm always glad to shoot a few
bugs for a friend --- but did you
really need us when a simple
exterminator would do?
Amanda shoots him a look, but before she can give him a
comeback, a concerned Wagner pulls her aside.
WAGNER
Are you sure you're well enough to
work?
AMANDA
I'm in a hospital, Ron. Is there
a better place to be if I don't
feel well?
She moves past him to the autopsy table.
AMANDA
Besides, nothing picks me up like
a fascinating autopsy.
MARK
(to Ron)
Engaging your mind invigorates
your body.
WAGNER
What's so fascinating about a
routine gunshot wound?
AMANDA
Nothing, if that's all you're
looking at. But my esteemed
colleague missed something.
She glances at the MALE PATHOLOGIST, who slinks away,
embarrassed. She points to the dead man's foot.
AMANDA
Take a look at this, Mark.
Mark examines the foot.
MARK
Looks like some bug bites.
AMANDA
Ant bites. Solenopsis invicta, to
be exact.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 45.
47 CONTINUED: (2) 47
STEVE
How does that help us?
MARK
They're also known as South
American, red fire ants. And they
aren't indigenous to California.
Wagner looks at Mark incredulously.
WAGNER
How do you know that?
MARK
You only have to be bitten once
and you never forget.
AMANDA
Up until now, they have only been
found in the south-east, mostly
Alabama, Florida, and Louisiana.
They nest in pastures and fields
and are occasionally found in
wooded areas. They are monitored
closely by entomologists because
they pose a dire threat to
agriculture and livestock.
WAGNER
So you're saying ROAR is based out-
of-state.
AMANDA
No, they're here. Somewhere in
Kern County.
She hands Wagner a file.
AMANDA
Two months ago, the Department of
Agriculture found a red fire
colony in Lost Hills.
STEVE
If we can isolate the most recent
out-breaks of red fire ants in
Kern County, we might be able to
pinpoint where ROAR is hiding.
MARK
You've done it again, Amanda.
WAGNER
(to Mark)
The information will give you an
edge when you go back to Carter.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 46.
47 CONTINUED: (3) 47
MARK
I'm finished with him.
Wagner shakes his head.
WAGNER
D.A. Burnside has agreed to
Carter's terms. He'll transfer him
to a "country club" prison in
return for his help capturing his
sister.
AMANDA
Doesn't Burnside realize Carter is
manipulating us again?
WAGNER
Burnside has no intention of
honoring the deal. Once Caitlin is
caught, Carter is going right back
to the cell he's in now.
MARK
You're fools to be making deals
with him. I'll have nothing to do
with it.
Mark heads for the door when:
WAGNER
He'll only talk to you.
But Mark keeps going. Wagner chases after him.
48 INT. COMMUNITY GENERAL - CORRIDOR - DAY 48
As Wagner catches up to Mark.
WAGNER
If Carter Sweeney is telling the
truth, this may be our best shot
at stopping ROAR before they
strike again.
MARK
And if he's lying, you're walking
right into whatever trap he's
laying - and he is laying one.
WAGNER
So we'll be careful. Besides, what
can he possibly do from prison?
Steve joins them.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 47.
48 CONTINUED: 48
STEVE
I hate to say it, Dad, but he's
right. We can't walk away from an
opportunity like this.
MARK
Carter knows that. Don't you see?
He's controlling everything.
STEVE
That's why you're the best person
to deal with him. You understand
the way he thinks.
MARK
It works both ways.
Wagner studies Mark.
WAGNER
You're scared of him, aren't you?
Mark meets his gaze.
MARK
You're damn right I am.
And on Mark walking away, Wagner and Steve looking after him,
we CUT TO:
49 INT. PRISON - DAY 49
Once again, Carter is sitting in chains, facing his adversary,
Mark Sloan.
MARK
I know everything you're going to
tell me is a lie.
CARTER
The best lies have some element of
truth. Like your story, that you
only investigate murders to help
the police.
MARK
I want to make sure people like
you end up here.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 48.
49 CONTINUED: 49
CARTER
You mean the death chamber,
strapped to a stainless steel
gurney, where you can watch them
squirm as the lethal injection
enters their veins. Where you can
look into their eyes as their
lives slip away. That's the part
you like best.
(then)
That's the part all killers like
best.
MARK
I won't be here to watch you die.
I don't even want to be here now.
CARTER
You want to catch my sister, don't
you?
MARK
You've been jailed for six months.
How can you know where Caitlin is
and what she is doing?
CARTER
She has been writing to me in code
under another name, through my
lawyer.
MARK
I want to see the letters.
CARTER
Sorry, I haven't saved them.
MARK
Convenient. One might even say
premeditated.
CARTER
ROAR is buying weapons for the
revolution. To get everything on
their shopping list, they will
need at least $100 million.
MARK
That information won't get you a
cell with a view.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 49.
49 CONTINUED: (2) 49
CARTER
Their compound is somewhere north
of Los Angeles, where they use
commercial bee hives for
pollination and the trout fishing
is great.
MARK
What do fishing and bee hives have
to do with anything?
CARTER
I don't know exactly where they
are, but she says they are living
off the land, eating trout every
night.
MARK
And the bees?
CARTER
They are everywhere. ROAR is ready
to blow up the world just to get
rid of the bees.
Mark studies him for a long moment.
MARK
You don't think I'd believe you if
you just gave me their location.
(then)
You know I like puzzles, so you
are manufacturing one for me. You
think I'll believe it more if I
discover the place myself.
Carter smiles.
CARTER
Maybe, maybe not. Don't you just
love a mystery?
And on Mark, getting up and going to the door, we CUT TO:
50 EXT. BEACH HOUSE - ESTABLISHING - DAY 50
The beach house from an angle we haven't seen before.
51 INT. BEACH HOUSE - DAY 51
Mark has a map spread out on the table. He is flanked by
Wagner, Amanda and Steve.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 50.
51 CONTINUED: 51
MARK
This is Kern County.
He MARKS places on the map with a MAGIC MARKER.
MARK
I checked with the Department of
Fish and Game. These are all the
streams and lakes where the trout
are biting.
He hands the marker to Amanda, who now marks the map with:
AMANDA
And these are fields where
entomologists have already found
red fire ant colonies.
STEVE
What about the bees?
AMANDA
Commercial bee hives are often
brought in from out-of-state to
pollinate groves. Red fire ants
were found on some hives and the
soil around them.
(marks map)
Here. Here. And here.
Wagner studies the map.
WAGNER
Looks to me like half-a-dozen
possible locations where all the
elements coincide.
STEVE
One of those is bound to be near
a vacant property that could be
used as a compound.
Wagner whips out his cell and starts dialing.
WAGNER
We can pinpoint a location in two
hours. I'll alert our anti-
terrorist unit.
(to Steve)
You coming?
STEVE
Wouldn't miss it.
Wagner is on the go. Steve starts to follow when Mark stops
him.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 51.
51 CONTINUED: (2) 51
MARK
This is too easy, Steve.
STEVE
I know, but what other choice do
we have?
MARK
Just remember whatever you find
will not be what it seems.
AMANDA
(to Steve)
And tell Ron to keep his head down.
STEVE
Don't worry about us. We're the
good guys.
Steve gives them a reassuring smile and heads out. And on
Mark's concern, we CUT TO:
52 EXT. GHOST TOWN - DAY 52
As Steve, Wagner, and a team of FBI AGENTS in FLACK JACKETS,
wearing HEADSEATS and brandishing WEAPONS, creep up on the
RAMSHACKLE BUILDINGS that make up this abandoned town. Steve
doesn't like what he sees.
STEVE
What do you know about this place?
WAGNER
Used to be a mining camp 70 or 80
years ago. Now it's a ghost town.
STEVE
Let's try not to join the
population.
WAGNER
We're prepared for a fight. And
right now, we have surprise on our
side.
STEVE
What makes you think that? They
probably knew we were coming
before we did.
WAGNER
Then let's not keep them waiting.
Wagner speaks into his headset.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 52.
52 CONTINUED: 52
WAGNER
Move in.
And as the agents fan out, moving low and slow towards the
buildings, we CUT TO:
53 EXT. ISOLATED ROAD - DAY 53
First a PATROL CAR, followed by a PRISON VAN, and then ANOTHER
PATROL CAR, zoom past on this rural road.
54 INT. PRISON VAN - DAY 54
Carter Sweeney, chained and fenced in, is the only passenger.
And that eerie smile on his face, visible in the REAR VIEW
MIRROR, isn't making the BUS DRIVER very comfortable. INTERCUT
WITH:
55 EXT. GHOST TOWN - DAY 55
The agents move with almost choreographed precision among the
buildings, pressing themselves against the walls, peering into
windows and around corners... slowly and methodically
canvassing the ghost town. Steve and Wagner split up. Wagner
crosses to one of the buildings...
56 THE BUILDING 56
Wagner presses himself against the wood and creeps towards a
half-open door.
57 EXT. ISOLATED ROAD - DAY 57
The CONVOY is coming up on a SLOW-MOVING TRUCK, one of those
giant moving company things. INTERCUT WITH:
58 EXT. GHOST TOWN - BUILDING 58
Wagner throws open the door and spins into a firing stance in
one smooth motion... and FREEZES when hears a METALLIC CLICK
and SEES...
59 HIS POV 59
We PULL BACK to see that the building is STUFFED, almost FLOOR
TO CEILING with EXPLOSIVES. It's a BIG BOMB.
"Obsession - Part Three" 7/8/98 YELLOW 53.
60 BACK TO SCENE 60
Wagner holsters his gun and is about to move when Steve grabs
him.
STEVE
Don't move.
(off Wagner's look: )
Did you hear a click?
WAGNER
Yes.
Steve crouches at Wagner's feet and gently brushes away the
dirt... to reveal A TRIGGERING DEVICE under Wagner's foot.
There's a WIRE attached to device that goes off under the dirt
in the direction of the EXPLOSIVES. Steve grimaces.
STEVE
How are you at standing for long
periods of time without moving?
WAGNER
I could learn.
STEVE
Good. Because if you so much as
twitch, this ghost town is going
to become a crater.
And on Steve shares a look with Wagner. And on Wagner, he gaze
shifting to the WALL OF EXPLOSIVES, we CUT TO:
61 EXT. ISOLATED ROAD - DAY 61
The TRUCK suddenly stops.
62 THE LEAD PATROL CAR 62
Slams on its breaks... too late... SLAMMING INTO THE REAR OF
THE TRUCK.
63 WIDE ANGLE 63
The VAN and PATROL CAR behind it skid to a stop. Another
truck cuts them off from behind.
64 TIGHT ON THE TRUCK 64
As the REAR DOOR whips open, revealing CAITLIN SWEENEY, aiming
a SHOULDER-MOUNTED ROCKET LAUNCHER right at the prison van.
She fires, blowing up something on the side of the road.
(CONTINUED)
"Obsession - Part Three" 7/8/98 YELLOW 54.
64 CONTINUED: 64
Suddenly DOZENS of ROAR SOLDIERS pop up from hiding on either
side of the road, aimed their weapons at the convey. The
prison guards are outmatched. They drop their weapons and
RAISE THEIR HANDS in defeat.
65 THE VAN 65
As the door opens and Carter Sweeney strides out, a triumphant
smile on his face. And on his victory, we FADE OUT.
END OF ACT FOUR