DIAGNOSIS MURDER
"Voices Carry"
TEASER
FADE IN:
1 EXT. DISPOSAL SITE - DAY 1
A TRASH TRUCK, with CONSTRUCTION WASTE DISPOSAL etched on the
side, pulls into the diposal area. GEORGE emerges from the
driver's seat and climbs onto the side of the truck. He's
joined by his partner SID.
GEORGE
She wants me to go to night school
and get a degree. So I tell her,
what do I need a degree for? She
says so I can get a profession. I
told her, I got one baby.
George yanks on the CONTROL LEVER and the back-end of the
truck begins to TIP UP, spilling SCRAP LUMBER, WOOD and METAL
onto the ground.
GEORGE
I make a living sorting through
someone else's trash, just like
Dr. Laura, Johnny Cochran, Mike
Wallace, Jerry Springer, Kenneth
Starr...and everybody else.
Sid uses a RAKE to untangle BLOCKAGES from the back of the
truck as the refuse continues to tumble out.
GEORGE
Only difference between me and
them is I got no pretensions about
it.
SID
You also reek.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 2.
1 CONTINUED: 1
GEORGE
That, my friend, is the stench of
an honest buck. It's the people
you can't smell you got to worry
about.
That's when a FULLY CLOTHED WOMAN'S BODY drops out of the
truck into the PILE OF TRASH. Sid yells to his friend.
SID
George!
George, hearing the concern in his partner's voice, lets go of
the lever and rushes to Sid's side.
2 THEIR POV 2
There, amidst the trash, is a WOMAN in a leotard. Her FACE is
painted WHITE, her neck is BRUISED... and she's DEAD. Her FACE
is suddenly ILLUMINATED by the BRIGHT FLASH of a FLASHBULB.
3 EXT. DISPOSAL SITE - LATER 3
Only now, there's POLICE PHOTOGRAPHERS everywhere... and
FORENSIC TECHS picking through the PILE OF GARBAGE. STEVE
SLOAN is interviewing George and Sid.
SID
You wouldn't believe the stuff
people throw out. Pianos. Anchors.
Grenades.
GEORGE
Sometimes relatives. Sometimes in
pieces. You get used to it.
STEVE
I don't.
Steve spots A POLICE OFFICER, JURKOWSKI, coming toward him
with CREDIT CARDS and DRIVERS LICENSE in a PLASTIC BAG.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 3.
3 CONTINUED: 3
JURKOWSKI
Found her credit cards and ID.
Steve takes the bag and looks at the cards through the clear
plastic.
STEVE
Her name's Sally Jenkins. She's
got a SAG card. Guess she was an
actress.
JURKOWSKI
She's doing a great job playing
dead.
Jurkowski walks away. That's when AMANDA finds Steve.
AMANDA
Where's the body?
Steve points to the trash truck. She groans and heads for the
truck.
AMANDA
I can see already this is not
going to be my day.
STEVE
It's better than hers.
And on his grim look, we -
FADE OUT:
END OF TEASER
"Voices Carry" 12/2/98 (GREEN) 4.
ACT ONE
FADE IN:
4 EXT. COMMUNITY GENERAL - ESTABLISHING - DAY 4
5 INT. COMMUNITY GENERAL - CHILDREN'S WARD - DAY 5
Whatever the children's troubles are, they are forgotten as
they watch, with big smiles and wide eyes, DR. MARK SLOAN tap
dancing in front of them to a joyful tune from his GHETTO
BLASTER. A handful of doctor's and nurses are also enjoying
the show. It's a toss-up, though, who is having more fun...
Mark or his audience.
Steve slips in and makes eye contact with his Dad. Mark brings
his routine to a big finish... to warm applause from his
audience.
STEVE
I've been looking all over for you.
MARK
It's been a while since I've
entertained the kids.
STEVE
I suppose it's just a coincidence
you picked fifteen minutes before
Harry Trumble's retirement party
to do it.
MARK
Oh, is that today?
Steve just gives him a look. Mark is a bad liar...at least
with his son.
STEVE
Dad, if you don't want to go, just
say so.
MARK
Why wouldn't I want to go?
STEVE
Because you didn't catch the
Clown Killer.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 5.
5 CONTINUED: 5
MARK
That was a long time ago. The
task force has been disabled for
years.
STEVE
That doesn't mean it hasn't eaten
away at you both.
MARK
I've put it behind me.
STEVE
Maybe you have but we both know
Harry hasn't. Is that why you
you're avoiding the party?
MARK
I was the last one to leave the
task force eight years ago. We
haven't spoken since.
(then)
It's an awkward time to start
again.
STEVE
Or the best. He could use his
friends today...he doesn't have
many left.
Mark nods and joins his son. And as they leave, we CUT TO:
6 A DOOR 6
Marked "Clown Killer Task Force"... or at least it was. A
KNIFE scrapes across the door, taking off what's left of the
word "Clown" and is moving towards the next word. We PULL BACK
to see a workman working diligently to scrape the letters off.
We HEAR a MUFFLED VOICE behind the door.
7 INT. TINY OFFICE - DAY 7
The cramped space is crammed full of FILE CABINETS and SAGGING
BOOKSHELVES. Everything is incredibly neat and organized. The
WALLS are COVERED with BULLETIN BOARDS full of NEATLY CUT,
YELLOWING NEWSPAPER CLIPPINGS regarding the clown killings.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 6.
7 CONTINUED: 7
HARRY (V.O.)
I need to know who was staying at
the hotel three months ago.
A LARGE MAP of LA stuck with RED PINS fills one wall. It's
YELLOWING... clearly, it's been up for a long time. Covering
part of the Los Angeles map is a much more RECENT MAP of THE
WORLD. Pins of DIFFERENT COLORS are stuck in it. HARRY
TRUMBLE, 60s, sits at his desk, cradling the phone between his
ear and shoulder.
HARRY
(into phone)
Yes, operator, I'll hold. Allah
akhbar to you, too.
There's a RAP at the door and then it swings open. CAPTAIN
NEWMAN stands in the doorway. Seeing Newman, Harry holds up a
finger to indicate "one minute." Newman looks impatient.
HARRY
(into phone)
Hello? Who is this? Mr. Sabib, my
name is Harry Trumble, I'm a
homicide detective with the Los
Angeles police. I need a complete
guest list going back--
(then, listening)
I don't have time for all of that.
What if I faxed you a letter from--
There's a CLICK. Harry hangs up in frustration and turns to
Newman.
HARRY
The guy won't give me the guest
list unless the request comes
through the Dahran police.
(then)
That's going to take a few more
days, easy.
NEWMAN
You're supposed to be packing, not
calling Saudi Arabia.
HARRY
But I've really got something,
Captain. Look at this.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 7.
7 CONTINUED: (2) 7
He tosses a magazine at Newman. It's in ARABIC. Newman hardly
glances at it. Harry keeps on going.
HARRY
When the Clown vanished ten years
ago, we figured he was either dead
or in jail for something else.
I've been watching foreign
newspapers. It takes some time to
get them translated and cross-
checked but....
He goes to his world map and points to the pins.
HARRY
Mexico: three unsolved murders in
'91, victims' faces painted like
Ueuecoyotl, the Aztec trickster.
Africa: four murders in '93, faces
painted like Eshu, their cultural
fool. And three months ago in
Dahran, two dead women who--
Newman interrupts:
NEWMAN
--are none of your business or
mine. Your retirement party is
going on right now.
HARRY
I need a few more days.
NEWMAN
Your days are up, Harry. This is
the last one. Now eat some cake.
That's an order.
Newman leads him out to
8 INT. POLICE STATION - SQUAD ROOM - DAY 8
Where Mark, Steve, and a DOZEN other DETECTIVES and OFFICERS
CHEER for Harry as he emerges. A BANNER behind them reads
"HAPPY RETIREMENT." There's a CAKE and DRINKS on the tables.
Officer Newman picks up a SODA and leads a toast.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 8.
8 CONTINUED: 8
NEWMAN
Here's to Harry Trumble. Even a
bullet in the throat couldn't keep
him from achieving what every
detective dreams of -- he milked
one case for fifteen years and
kept himself off the street!
The detectives laugh cheerfully. Harry smiles politely. Newman
reaches into his pocket and pulls out a WRAPPED BOX.
NEWMAN
Just a little something from the
boys in homicide.
Harry opens the box. It's an ELECTRONIC WRISTWATCH.
HARRY
A watch. How thoughtful. Thanks.
NEWMAN
It's also a pager.
HARRY
I'm sure that will come in real
handy now.
Harry hands the watch back to Newman and goes over to see Mark
and Steve.
STEVE
Congratulations, Harry. Forty
years on the force, that's quite
an achievement.
HARRY
Not exactly what I hoped to be
remembered for.
MARK
You taught a lot of homicide
detectives how to do their jobs.
Your legacy lives on in them.
Harry gives Mark a look.
HARRY
You, of all people, know exactly
what I'm talking about.
(more)
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 9.
8 CONTINUED: (2) 8
HARRY (cont'd)
Then again, you've solved so many
murders since then... while I've
been locked away in that little
room.
MARK
You locked yourself in there,
Harry.
HARRY
The Clown Killer is still out
there. Only now, no one will be
looking for him.
MARK
You did the best you could. Now
it's time to put it behind you,
enjoy life.
Mark hands him a slice of cake.
MARK
You always talked about sport
fishing in Cabo, now you can do it.
HARRY
I talked about a lot of things,
Mark. Wife, kids, grandchildren.
But you know what happened to that.
Harry drops the cake in the trash on his way out the door.
Mark and Steve look after him.
MARK
(to Steve)
Sure glad you talked me into
coming.
And on Steve's look, we DISSOLVE TO:
9 INT. COMMUNITY GENERAL - PATH LAB - NEXT DAY 9
Sally Jenkins lies on the autopsy table, only now the white
make-up has been wiped off her face.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 10.
9 CONTINUED: 9
AMANDA
No surprises in the autopsy. Sally
Jenkins was strangled, probably
from behind, probably with bare
hands.
We PULL BACK to REVEAL Amanda, Mark and Steve standing around
the table.
AMANDA
You can tell from the shape of the
bruising around the neck.
STEVE
Shame we can't get fingerprints
off flesh.
AMANDA
That day will come. In the mean
time, there's always DNA.
She holds up one of Sally Jenkins' hands.
AMANDA
She fought back. I found skin
under her fingernails. Find me the
killer, I'll nail him with
chromosomes.
STEVE
Give me a day or two.
MARK
That's pretty optimistic.
STEVE
She's had an ex-boyfriend who
didn't want to let go. She called
the cops twice on him. Last time
he broke down her door with a
sledgehammer. He didn't show up
for work today.
MARK
Sounds promising. Any idea why she
was wearing white face-paint?
HARRY (V.O.)
Because the Clown Killer didn't
finish his work.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 11.
9 CONTINUED: (2) 9
They all turn around to see, much to their surprise, Harry
Trumble standing in the doorway.
HARRY
(to Steve)
Why wasn't I notified about his
immediately?
Steve shares a look with this father, then:
STEVE
Because you're retired.
HARRY
The twenty four hours since I
turned in my badge hasn't dulled
my memory that much. I'm still the
expert on the Clown Killer.
STEVE
This isn't a Clown killing.
HARRY
I'll be the judge of that.
He steps up to the body, studies her, then gives Steve and
Mark a withering look.
HARRY
It's a good thing I still have a
few friends on the force who let
me know about this... before the
trail got cold.
(then)
This is our best lead yet.
This is pathetic. Mark tries to gently reason with him.
MARK
The Clown stabbed his victims and
painted crude clown faces on them.
Sally Jenkins was strangled and
she wasn't wearing a clown face.
HARRY
Because something or someone
interrupted him before he could
finish.
(more)
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 12.
9 CONTINUED: (3) 9
HARRY (cont'd)
That's what makes this the most
significant break we've ever
had -- there could be a witness
out there.
AMANDA
The Clown Killer also made a small
incision in his victims'
tongues -- and she doesn't have
one.
Harry snaps at her.
HARRY
He didn't get to finish -- aren't
you listening?
STEVE
I've heard enough.
Steve hands a file to Harry.
STEVE
Sally Jenkins was an actress.
Between gigs, she worked birthday
parties as storybook characters.
We checked her apartment. There
was an open jar of white face
paint on her make-up table.
MARK
She was probably sitting at the
table putting on her make-up when
she was strangled.
(then)
The Clown Killer picked his
victims off the street, he didn't
break into their homes.
Harry drops the file on the body.
HARRY
I'm telling you it's him.
STEVE
And he just happened to strike the
same day you retired and the task
force was officially closed down.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 13.
9 CONTINUED: (4) 9
HARRY
That's exactly why he did it. To
laugh at me... to laugh at all of
us.
Mark shares a look with Amanda and Steve. There's no way
around saying what has to be said.
MARK
(to Harry)
We all know how you must feel.
You've been forced to leave before
your work is done... but you have
to let go.
HARRY
I will... the day he's caught.
Harry storms off, enraged. Our heroes looking after him.
STEVE
He was a very good cop... once.
MARK
Yes, he was.
AMANDA
(to Mark)
Weren't the two of you close
friends?
Mark nods.
AMANDA
He could use one right now.
MARK
Not me.
Mark walks away. And on Amanda's look, we CUT TO:
10 INT. HARRY'S HOUSE - NIGHT 10
It's like a larger version of his office... walls lined with FILE
CABINETS, teetering stacks of FILE BOXES, piles of YELLOWED
NEWSPAPERS... only with a couch and a dinette set thrown in.
Harry goes to a FILE CABINET and pulls out a BULGING FILE, taking
it with him to the table, which is dominated by an old, desktop
computer. He sits down and opens the FILE in front of him.
"Voices Carry" 12/2/98 (GREEN) 14.
11 THE FILE - HIS POV 11
It's PHOTOCOPIES of NOTES from the KILLER... each letter of
each word is a DIFFERENT FONT, mimicking the style of those
old ransom notes that used letters cut-out from different
newspaper headlines. One note reads: "IF I LAUGH AT ANY MORTAL
THING, 'TIS THAT I MAY NOT WEEP. 2345" Beneath it is the
photograph of a lovely young woman.
12 FLASHBACK 12
To the WOMAN'S BODY, sprawled on wet cement, a CRUDELY PAINTED
clown face on her own...
13 BACK TO SCENE 13
Another note: "IT IS MEAT AND DRINK TO ME TO SEE A CLOWN.
1430" Another young woman's photo.
14 FLASHBACK 14
To ANOTHER WOMAN'S BODY, lying on the ground, a CRUDELY
PAINTED clown face on her own.
15 BACK TO SCENE 15
And another note: "LAUGH AND THE WORLD LAUGHS WITH YOU, WEEP
AND YOU WEEP ALONE. 0300" And another young woman.
16 BACK TO SCENE 16
Harry shuts the file. Suddenly he's hit with an AGONIZING
SPASM. He CLENCHES UP against the pain, fighting it with all
his will. The spasm passes... he takes a deep breath and comes
to a decision. He turns on the computer and, as it boots up,
reaches for a BOOK OF QUOTATIONS. He thumbs through it for a
moment, then begins to type.
17 THE SCREEN - HIS POV 17
Each LETTER is a different font as he begins to write...ONE
MUST LAUGH BEFORE ONE IS HAPPY OR ONE MAY DIE WITHOUT EVER
LAUGHING AT ALL...1800 He hesitates for a moment, staring at
the screen, then hits a key on his keyboard. And as the
printer spits out the page, we CUT TO:
"Voices Carry" 12/2/98 (GREEN) 15.
18 INT. BBQ BOB'S - MORNING 18
Mark is having breakfast at the counter. Jesse is on the other
side, showing him PHOTOGRAPHS.
JESSE
This is our world-famous Corned
Beef salad. This is our Smoked
Tongue Cobb. And this is our
Sante Fe Pastrami Caesar.
MARK
Definitely original.
JESSE
I like to think of them as salads
a man wouldn't be ashamed to eat.
MARK
Don't you think they're a
little... hearty?
JESSE
It's the only way I'm going to get
Steve to agree to a little
roughage on the menu.
That's when Steve comes in and takes a stool beside Mark.
STEVE
Get me some eggs and bacon, will
you, Jess?
Jesse gives him a look.
JESSE
You could go back and get them yourself.
STEVE
I could also gouge your eyes out
with my spoon.
JESSE
A bright good morning to you, too.
Jesse goes in back to get Steve's breakfast. Steve breaks into
a smile.
STEVE
This surly-in-the-morning routine
is great. You wouldn't believe the
things I get people to do for me.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 16.
18 CONTINUED: 18
MARK
So you're actually in a good mood.
STEVE
Very good. Got a line on Sally
Jenkins' ex-boyfriend, Jed Pender.
His brother Erno has a wrecking
yard in Venice. I checked him out.
Seems Erno also likes to open
doors with sledgehammers, trucks,
benches.
MARK
Maybe he went to his brother for
some understanding and support.
STEVE
Exactly what I was thinking.
That's when Jesse rushes out of the kitchen, very concerned.
JESSE
The TV was on in back. You'll want
to see this.
Jesse takes a REMOTE from under the counter and aims it the TV
ON THE WALL. Mark and Steve turn around on their stools to see:
19 THE TV - THEIR POV 19
It's a MORNING NEWSCAST.
NEWSCASTER
The Clown Killer terrorized the
city a decade ago in a string of
killings which left six women
dead... and police baffled. And
now comes the frightening news
that he's back.
INTERCUT WITH:
20 BACK TO SCENE 20
Mark and Steve watch the broadcast in anger and disbelief.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 17.
20 CONTINUED: 20
NEWSCASTER
The Clown Killer took
responsibility for the slaying in
a note delivered to our station
late last night... it was
confirmed as authentic by Lt.
Harry Trumble, head of the Clown
Killer Task Force.
The NEWSCAST cuts to a FILMED SEGMENT with Harry.
HARRY
Yes, there has been another
killing and, unfortunately, it is
consistent with his past
murders... and so is the note,
which contained information only
the Clown could know.
Mark takes the remote from Jesse and switches off the set.
MARK
I knew Harry was obsessed with the
Clown... but I never thought he'd go
that far.
STEVE
He's going to have the whole city
in a panic.
Almost immediately, Mark and Steve's beepers go off. Mark and
Steve both hurry out. And on Jesse, left to eat Steve's
breakfast, we CUT TO:
21 INT. POLICE STATION - SQUAD ROOM - DAY 21
It's CROWDED with DETECTIVES, and OFFICERS, including Mark and
Steve. Harry and Captain Newman address the ranks.
NEWMAN
The Chief has reactivated the
Clown Killer Task Force and
reinstated Harry Trumble to lead
it. As of now, you are all
assigned to it. All your other
case work is suspended until
further notice.
There is some GRUMBLING around the room. A DETECTIVE speaks up.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 18.
21 CONTINUED: 21
DETECTIVE
How do we know it was the Clown
and not some crank?
HARRY
All the Clown's letters included the
victim's time of death -- something
only the killer and we knew. He put
it in military time at the end of
his message. We never released that
tidbit to the media.
NEWMAN
You will report directly to Harry,
who will be coordinating the
investigation. That is all.
Harry starts moving through the room, handing out folders to
the detectives.
HARRY
These are your duty assignments. It's
scutwork... but that's how we're
going to nail him. I want reports
daily, on my desk no later than nine.
He stops at Mark.
HARRY
I'd like you back on the team.
MARK
I won't help you perpetuate this
fraud. The Clown Killer didn't
write the letter. You did.
Harry looks Mark right in the eye.
HARRY
Get your priorities straight,
Mark. The Clown Killer is still
out there. We have to stop him.
MARK
And while you monopolize the
resources of the police department
to evade retirement, how many
other killers are walking free?
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 19.
21 CONTINUED: (2) 21
Mark walks out. Harry simply turns his back on him and hands
Steve a folder.
HARRY
Your assignment, detective.
STEVE
How nice of the Clown to say
hello. And how timely, too.
HARRY
You have a job to do, now get out
there and do it.
Harry walks on. Steve goes to Captain Newman.
STEVE
You don't really believe the Clown
is back, do you?
NEWMAN
What I believe is that every
newspaper and television reporter
in this city is camped outside the
Chief's office. They are expecting
results. We have to deliver them.
STEVE
The Clown didn't kill Sally Jenkins.
Give me a day and I can prove it.
Newman glances at Harry, conferring with some detectives, then
back to Steve.
NEWMAN
One day.
Steve hands Newman his file and hurries out. Harry watches him
go. He's about to approach Newman about it when a PHONE RINGS.
Harry turns to the sound of the phone. It's coming from his
TINY OFFICE. He goes to it.
22 INT. TINY OFFICE - DAY 22
Harry answers the phone.
HARRY
Harry Trumble.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 20.
22 CONTINUED: 22
There's a moment of silence, then:
MAN'S VOICE
"As the husband is, the wife is, thou
art mated with a clown." 1100 hours.
HARRY
Who is this?
MAN'S VOICE
It's been a long time, Harry.
Thanks for inviting me to clown
around again.
Harry hangs up, as if the phone had suddenly turned RED HOT.
NEWMAN (V.O.)
Something wrong?
Harry turns to see Captain Newman in the doorway.
HARRY
Just a crank.
And on Harry, still shaken, we CUT TO:
23 THE CLOWN KILLER 23
His face bathed in SHADOW. He snaps shut a CELL PHONE in his
latex-gloved hand and looks down at a DEAD WOMAN, her face
crudely painted like a CLOWN.
MAN'S VOICE
It's so nice to be back.
And on the DEAD WOMAN, we FADE OUT.
END OF END OF ACT ONE
"Voices Carry" 12/2/98 (GREEN) 21.
ACT TWO
FADE IN:
24 THE BODY 24
of a young woman lies on the ground, a crude CLOWN MASK
painted on her face.
AMANDA (V.O.)
I hoped I'd never hear myself
saying this, but the Clown Killer
is back.
25 EXT. PARK - DAY 25
It's a crime scene. Squad cars, forensics units, flashing
lights, and lots of yellow tape to keep out the crowds of
lookiloos. Overhead, HELICOPTERS buzz mercilessly. Amanda and
Steve kneel over the body, checking it out carefully.
STEVE
Maybe it's a copycat.
AMANDA
I don't see how.
Amanda gently opens the dead girl's mouth with one rubber-
gloved hand.
AMANDA
Look there. She's got a small
incision in her tongue. Just like
on all of the Clown's victims.
And that information was never
released to the public.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 22.
25 CONTINUED: 25
STEVE
But Harry knew it... and that
Sally Jenkins didn't match the
Clown Killer's profile at all.
Amanda sees where Steve is going. She doesn't want to follow
him.
AMANDA
There's a huge difference between
faking a letter and committing
murder.
STEVE
To you. To me. To Harry?
(off Amanda's look)
Okay, maybe I'm reaching. But
something's not right here.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 23.
25 CONTINUED: (2) 25
AMANDA
I won't argue with that.
That's when there's a COMMOTION from the police lines. Amanda
and Steve turn to see Harry, thronged by PRESS, forcing his
way through the crowd.
REPORTER #1
Is this another Clown killing?
Can you tell us why he's come back?
Harry pauses before the reporters.
HARRY
I have no comment at this time.
Harry ducks under the crime scene tape and heads towards the
body and comes up to them, but he can't take his eyes off the
corpse at their feet.
STEVE
I guess I should congratulate you,
Harry. You were right all along.
Harry ignores him and crouches down by the body, studying it
carefully.
HARRY
What do we know?
AMANDA
Young female, 22, driver's license
gives her name as Trudy Shedlow.
Pulling on rubber gloves, he starts to open the victim's mouth.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 24.
25 CONTINUED: (3) 25
AMANDA
It's there.
Harry has to look anyway. He stands up, trying not to feel
overwhelmed by what's happening.
HARRY
When I got the page, I could
barely bring myself to come down
here. And even in the car, I was
hoping...
STEVE
We all were, Harry.
HARRY
All that matters now is making
sure this never happens again. Can
I count on your help?
STEVE
Yes. But maybe not in the way you
think.
And with that, he turns and walks away. Harry watches him,
then turns back to Amanda.
HARRY
I need to know everything you've
seen since you got here.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 25.
25 CONTINUED: (4) 25
And as Amanda turns back to him, we GO TO:
26 INT. WRECKING YARD GARAGE - DAY 26
Steve stands in front of a pile of auto parts. He takes a fuel
pump down and is looking at it when the door SLAMS open. He
casts a casual glance backwards to see ERNO PENDER, 30s,
grease-stained and tough, glaring at him.
PENDER
Hey, pal, you see that sign?
He points at a sign on the wall: AUTHORIZED PERSONS ONLY.
PENDER
You been authorized? I don't think
so -- 'cause I'm the only one who
can authorize you to be here.
STEVE
You -- and the chief of police.
He holds out his badge. Pender glares at him.
STEVE
Lieutenant Steve Sloan.
PENDER
All those parts are clean.
Salvaged scrap. I got recipts.
STEVE
I'm sure the burglary auto
detectives will be thrilled to
learn that. I'm in homicide.
Now Pender gets what this is all about. He scowls.
PENDER
I haven't seen my brother in
months. I already told those other
cops.
STEVE
That's why I rushed down here as
soon as they filed their report.
I always wanted to run a scrap
yard.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 26.
26 CONTINUED: 26
PENDER
And I always wanted to be able to
harass anyone I felt like. Guess
we both made the wrong career
choice.
STEVE
Ever hear of the Racketeer
Influenced and Corrupt
Organization Act of 1986, Erno?
Pender stares at him, not liking where this is going.
PENDER
This place isn't tied to the mob.
STEVE
That's the great thing about RICO.
Any property used in the
commission of any crime can be
seized by the arresting agency.
You know, like a $5 million yacht
that just happens to bring in a
little undeclared cargo from
Columbia.
PENDER
Does this look like a Columbian
drug cartel to you?
STEVE
I read about a woman who lost her
Volvo just because hubby borrowed
it to pick up a hooker. Doesn't
seem fair, does it?
PENDER
What do you want?
STEVE
Like I said, to run my own scrap
business. After it's seized, of
course. For harboring a fugitive,
accessory to murder --
PENDER
You can't do this.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 27.
26 CONTINUED: (2) 26
STEVE
Maybe not. But the County of Los
Angeles has lots of lawyers who'd
be willing to fight the case for
lots of years.
(then)
How long's the lease here? Or do
we own the property?
PENDER
Okay, I'll tell --
That's when there's a CRASH from the shop outside. Steve turns
and runs out into:
27 EXT. WRECKING YARD - DAY 27
Where JED PENDER, 30s, his face scratched, pushes a WORKMAN
away from a car he's working on and jumps into the driver's
seat. Steve pulls out his gun.
STEVE
Police!
But Jed doesn't stop, slamming the door, cranking the key, and
flooring the pedal. He's hunched over the steering wheel like
he's going 500 miles an hour -- when Steve taps on the window
with his gun. Jed looks up at him, shocked.
STEVE
Gotta love that front wheel drive.
And as Jed realizes that the drive wheels are spinning
uselessly in space, suspended on the jack, we GO:
28 INT POLICE STATION - TINY OFFICE - DAY 28
Harry leads Mark to a table, which is covered in Harry's
accumulated papers. Harry digs through them as he talks.
HARRY
I'm glad to have you back on the
team, Mark.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 27A.
28 CONTINUED: 28
MARK
I'm here to finish a job I started
ten years ago. That's all. I
still believe the letter was a
fraud and I will find out the
truth when this is over.
HARRY
Fair enough.
MARK
So where has the Clown been hiding
all these years?
HARRY
He hasn't been.
(then:)
After the last killing in 1989, no
one could figure out why the Clown
just disappeared.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 28.
28 CONTINUED: (2) 28
MARK
I remember there were lots of
theories.
HARRY
Right, that he'd gotten bored with
killing. Or finished some pattern
we never understood. Or maybe got
killed trying to take his next
victim.
MARK
They were all pretty useless.
HARRY
Because they were based on nothing
except wishful thinking. The truth
is, the Clown never stopped
killing.
That does surprise Mark.
MARK
I never heard of any murders that
sounded anything like the Clown's.
HARRY
Because you were looking in the
wrong places. Just like I was for
so many years.
Harry digs around in the mess on the table and comes up with
a MAP. With Mark's help, he pins it to the wall and points to
locations as he talks. Then Mark stands back and looks at a
marked spot, surprised.
MARK
Siberia?
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 29.
28 CONTINUED: (3) 28
HARRY
It's pretty rugged country there,
only thaws out a couple months in
the summer. July of '87, when the
snow melted, it uncovered half a
dozen dead women.
MARK
They were stabbed?
HARRY
Siberian record-keeping isn't up
to our standards, but at least one
had an incision on her tongue. And
enough of the faces had survived
the winter to find traces of
greasepaint.
MARK
Clown faces?
HARRY
Not exactly.
He digs through his papers and comes up with a sketch of an
odd, semi-human face. Mark looks at it, not understanding.
HARRY
I reconstructed this from the bits
and pieces I could find in the
photos of the victims. It's the
Skomorokhi-- in medieval Russian
mythology, it was the trickster or
joker.
MARK
You reconstructed it? So you don't
know that this is what was
actually painted on the victims.
Harry holds up a hand -- hold on. He finds another sketch. It
looks like an African tribal mask.
HARRY
Eshu, in many African cultures,
this is the Fool. Found
indications of him on three dead
women in Nigeria, 1993.
(more)
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 30.
28 CONTINUED: (4) 28
HARRY (cont'd)
(another sketch)
This is Nasr-ed-Din. Saudi Arabia.
Do I have to explain what he is?
Mark takes the sketches, stunned.
MARK
The Clown has been travelling the
world, adapting his murders to the
local cultures. And you managed to
figure it out.
Harry basks in the praise. After all these years, to be taken
seriously.
HARRY
I knew he would never stop killing.
MARK
(then, realizing)
Siberia, Saudi Arabia, Nigeria.
They're all oil producing
countries.
HARRY
(exactly)
Add England and Mexico and you've
traced his path over the last
fifteen years.
MARK
He works for an oil company. And
the reason he stopped killing here
is because he was transferred.
HARRY
And now he's been transferred back.
MARK
So we've got to figure out which
oil companies have operations in
all these countries, and then get
a list of employees whose
movements parallel the killings --
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 31.
28 CONTINUED: (5) 28
HARRY
That's why they've given me a
dozen officers. It's just a matter
of time until you watch me bring
him down.
That's when the door swings open, and Steve comes in, dragging
the handcuffed Jed Pender. His face is scratched.
STEVE
Harry, Dad, I'd like you to meet
Jed Pender. He just admitted
murdering his girlfriend Sally
Jenkins.
HARRY
He couldn't have.
STEVE
Seems Jed wanted Sally to stay
home and watch videos with him.
But she wanted to go to work --
playing Raggedy Ann at a child's
birthday party. So he settled the
argument by throttling her to
death. I think a DNA test on the
skin found under her fingernails
will prove it.
Mark turns to Harry, concerned.
MARK
Why would the Clown confess to
someone else's murder?
STEVE
Go ahead, Harry, explain that to
us.
Harry desperately tries to find a way out. There is none.
HARRY
The only reason I can think of is
he's toying with us.
MARK
Somebody is.
Mark storms out, leaving Harry alone. Harry slams his fist on
the table...and is suddenly hit with another AGONIZING SPASM.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 32.
28 CONTINUED: (6) 28
It's so severe, it brings Harry TO HIS KNEES. He holds the
table for support, waiting for it to pass. It does... slowly.
Harry pulls himself to his feet... to find himself staring
down again at the PICTURE of one of the CLOWN'S VICTIMS. And
on Harry's grim determination, we GO:
29 INT. POLICE STATION - CAPTAIN NEWMAN'S OFFICE - DAY 29
Newman regards Mark and Steve skeptically.
NEWMAN
You think Harry faked that letter
so we wouldn't take away his task
force?
STEVE
Of course he did.
NEWMAN
And then what happened? He didn't
think we were enthusiastic enough,
so he killed that second girl
himself?
MARK
We don't believe Harry would ever
do anything like that, Captain.
But if he forged the letter, he is
responsible for the second murder.
NEWMAN
(to Mark)
You and Trumble had some problems
in the past, didn't you?
MARK
That has nothing to do with this.
NEWMAN
Of course not. Unlike Harry, you
have no personal agenda at all.
STEVE
If the Clown was living in LA and
read about the faked letter, it
might have inspired him to start
killing again.
Newman regards them coolly.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 33.
29 CONTINUED: 29
NEWMAN
That's an interesting theory,
Lieutenant. What's the point?
STEVE
You've got to take Trumble off the
task force.
NEWMAN
No.
He turns back to his paperwork, dismissing Mark and Steve. But
they don't go.
STEVE
You're going to reward him for
what he did?
NEWMAN
Have you checked the TV news
lately, Sloan? People out there
are scared. Harry makes them feel
safe.
MARK
Harry is the reason they're scared.
NEWMAN
They don't know that. All they do
know is this force has an expert
on the Clown Killer, and he's
using all his expertise to stop
this maniac before another
innocent woman dies.
STEVE
His investigation is hopelessly
compromised, sir. Forging that
letter --
NEWMAN
-- is an accusation which so far
has no evidence to back it up.
Unless you've been holding out on
me.
He waits, but neither Steve nor Mark has anything.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 34.
29 CONTINUED: (2) 29
NEWMAN
You want Harry Trumble punished
for what he did?
MARK
If he forged that letter, I
believe he should be held
accountable.
NEWMAN
(to Steve)
I assume you share your father's
sentiments.
STEVE
Yes, sir.
NEWMAN
Then I give you full authority to
investigate Harry Trumble's role
in this killing.
STEVE
Thank you, sir.
But Newman's not done yet. He holds up a hand to stop them
from leaving.
NEWMAN
Said investigation is to commence
one hour after the Clown Killer is
arrested.
(off their looks)
You want Trumble? Help him get me
the Clown and he's yours.
He turns back to his papers. Mark turns and walks out into:
30 INT POLICE STATION - DAY 30
where Harry addresses a GROUP OF COPS. Any trace of
insecurity, pain or fear is gone.
HARRY
...not only the oil companies, but
businesses that service them,
build their equipment. We need
personnel records, travel
documents, anything you can get.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 35.
30 CONTINUED: 30
Mark stalks up to them.
MARK
We have to talk about that first
letter.
HARRY
Couple hours, Mark, I'm kind of
busy here.
MARK
But I'm in the mood to talk now.
To you or to the press, it's your
choice.
Harry looks over at him and sees the determination in Mark's
eyes. He turns back to his team.
HARRY
You've got your assignments. We
need answers by end of business
tomorrow.
(to Mark)
Let's go somewhere private.
And on Mark's look:
31 INT POLICE STATION - TINY OFFICE - DAY 31
Harry looks infuriatingly calm as Mark steams.
HARRY
I'm assuming the fact we're
meeting here rather than Newman's
office means you couldn't get me
kicked off my own task force.
MARK
Who wrote that letter, Harry?
HARRY
Until we have evidence to the
contrary, it's credited to the
Clown.
MARK
He didn't kill Sally Jenkins.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 36.
31 CONTINUED: 31
HARRY
Then we'll add fibbing to his list
of crimes. Are we done?
MARK
But that other girl, Trudy
Shedlow -- her death is on your
conscience.
HARRY
I'm going back to work.
He starts for the door. Mark stops him.
MARK
You woke him up, Harry. You
demanded he start killing again.
Just so you could have the glory
of catching him.
HARRY
He murdered dozens of women. Even
if he had stopped for good, you
want to let him retire in peace?
You want to know he's out there,
free, laughing at us?
MARK
If the alternative is more deaths,
yes.
HARRY
You're a coward. You don't care
about justice. You just want to be
spared from the pain.
MARK
This has nothing to do with
justice. This is an old man
desperate to find meaning in his
pathetic, wasted life.
Harry stops for a moment, stunned. Even Mark's a little
shocked at what he's said. Harry looks Mark right in the eye.
HARRY
I wasted my life? You mean, I
never married, never raised a son
to take my place when I retired?
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 37.
31 CONTINUED: (2) 31
MARK
Harry, I'm sorry. I didn't mean it.
But Harry isn't going to drop it -- or accept an apology.
HARRY
Why is that, do you think? Why
didn't I ever get married? I seem
to remember I was in love once. I
was even engaged.
MARK
Forty years ago, Harry, let it
alone.
HARRY
Oh, yes, it's coming back now. Her
name was Katherine and she was
beautiful. She loved me, Mark, I
remember that. And then she met a
young doctor, and she didn't love
me anymore.
MARK
You know we didn't mean for that
to happen. You know --
But Harry won't listen anymore.
HARRY
You stole my life. So don't
lecture me about my conscience.
Not until you're ready to talk
about your own.
And with that, Harry storms out, leaving Mark behind, shaken.
32 EXT. HARRY'S HOUSE - NIGHT 32
Harry trudges up to the door, clearly in physical pain and not
bothering to hide it any more. As Harry fumbles for his keys,
he spots a LARGE ENVELOPE on the stoop. He picks it up and
carries it into:
33 INT. HARRY'S HOUSE - NIGHT 33
Where he slams the door shut behind him, then quickly opens
the envelope with trembling hands.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 38.
33 CONTINUED: 33
A PHOTOGRAPH falls out onto the ground, and as Harry bends
over to pick it up with a handkerchief, he sees
34 THE PHOTOGRAPH 34
Is of Trudy Shedlow, dead, with her clown-face half-applied.
35 BACK TO SCENE 35
Harry stares at the picture for a moment, then, dreading it,
pulls out a LETTER from the envelope.
36 THE LETTER 36
Is written in the same melange of fonts as the Clown's other
correspondence. It reads: AS THE HUSBAND IS, THE WIFE IS,
THOU ART MATED WITH A CLOWN. 1100.
37 BACK TO SCENE 37
Harry can't take his eyes off the letter. Until there's a
KNOCK at the door. Jolted out of his thoughts, Harry jams the
letter and the photo back in the envelope and, hiding his
physical pain, opens the door. Mark Sloan stands in the
doorway.
HARRY
What do you want?
MARK
Same as you. To catch the Clown.
Harry thinks for a moment, then stands back enough to let Mark
in.
HARRY
And bring some meaning to my
wasted, pathetic life?
MARK
Can't help you there, Harry, only
you can do that.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 39.
37 CONTINUED: 37
HARRY
I see the Clown behind bars,
that's all the meaning I've ever
needed.
Mark nods. He can accept that. That's when the envelope slips
out of Harry's hand. He grabs for it, but it's Mark who picks
it up. He's about to hand it to Harry when a thought occurs to
him.
MARK
How are we doing on the oil
companies?
HARRY
We should start getting personnel
records first thing in the
morning. Then we put on our comfy
shoes and hit the streets.
MARK
I've got a pair that needs
breaking in. Mind if I tag along?
Harry can't take his eyes off the envelope.
HARRY
You want to help, I'm not going to
turn you away.
(then)
But if you're on the team, you
work for me. No questions. No
second guessing.
MARK
I can do that -- as long as you
promise you'll be completely
honest with me.
They take a moment, then shake hands. Mark turns to go. Harry
clears his throat. Mark turns back, not understanding.
HARRY
The envelope?
The what? Oh, yeah, Mark completely forgot he'd been holding
it. He hands it out to Harry, who snatches it back.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 40.
37 CONTINUED: (2) 37
MARK
Don't tell me, I was about to walk
out of here with some crucial
evidence you needed to study
tonight.
HARRY
It's nothing like that. It's
just... junk mail.
Mark smiles and leaves, and on Harry, buckling under the pain
he was hiding, we FADE OUT
END OF END OF ACT TWO
"Voices Carry" 12/2/98 (GREEN) 41.
ACT THREE
FADE IN:
38 EXT. OIL REFINERY - ESTABLISHING - DAY (STOCK) 38
39 INT. TRIAX PETROLEUM - PERSONNEL OFFICE - DAY 39
FAMILY PHOTOS clutter the office. HOWARD WEBER, 40s, an
affable with a ready grin, saunters up to Mark and Harry,
offering his hand.
WEBER
I'm Howard Weber, head of
personnel. I gathered the files
you requested. May I ask what this
is all about?
HARRY
We're investigating a homicide.
WEBER
That much I figured out when you
introduced yourself on the phone.
Weber brings over a stack of files and sets them on a table in
front of Mark and Harry. Weber studies Harry.
WEBER
You're the guy I saw on TV the
other day, aren't you? This is
about the Clown Killer.
(off Harry's nod)
Those killings were years ago. Why
would he come back now?
MARK
We don't think he ever stopped...
just moved on.
A look of horror creeps onto Weber's face
WEBER
You don't think...
(then)
He's one of our employees? A
homicidal maniac is working here?
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 42.
39 CONTINUED: 39
MARK
We're checking a dozen oil
companies with operations in
Southern California. He could work
at one of them... or none.
HARRY
After the killings stopped in LA
a decade ago, similar murders
occurred over the years in oil
producing countries. We think
there may be a connection.
Weber sits down, visibly shaken.
WEBER
We had a company picnic last week.
My wife and kids were there. He
was there, too. I even let him
pick up my daughter.
Mark and Harry share a look.
HARRY
You know who it is?
Weber nods and picks a file off the stack.
WEBER
We have lots of employees who
worked in places you listed... but
only one who's travel schedule
matches the dates you gave me.
Harry takes the file and flips it open.
HARRY
Randy Horsting.
WEBER
He's a platform driller. Just
returned from Saudi Arabia six
weeks ago.
(then)
He doesn't get along well with
female coworkers...so we work
around that.
HARRY
What's his problem with women?
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 43.
39 CONTINUED: (2) 39
WEBER
Let's just say after you spend a
couple months on an oil platform
on the North Sea, the first woman
you meet is likely to get a lot
more attention than she wants.
(then)
Most of our female employees
understand that.
HARRY
But not every woman he meets is an
understanding employee.
WEBER
Something like that.
MARK
Mind if we borrow these other
files... sort through them
ourselves.
WEBER
Of course.
Weber hands Mark the files, then adds:
WEBER
Just do me one favor. When you
catch this guy... whoever it
is...do you have to mention where
he worked?
HARRY
It will come out.
WEBER
Then if you'll excuse me, I have
to call my stockbroker. Most of my
401K is in Triax Petroleum stock.
And on Harry's look, we CUT TO:
40 EXT. BAR - NIGHT 40
A dive. Unremarkable, except maybe for the fact Steve's car is
parked across the street.
"Voices Carry" 12/2/98 (GREEN) 44*.
41 INT. STEVE'S CAR - NIGHT 41
Harry sits in the passenger seat, wincing with pain. Until
Steve appears at the driver's side with two cups of take-out
coffee. Harry straightens quickly, hiding his pain as Steve
gets in.
He takes the coffee Steve offers him. Steve glances at the bar.
STEVE
It's been two hours. Any chance
Horsting slipped out the back?
HARRY
He's picking his victim.
STEVE
According to his records, he used
to harass any attractive woman he
saw in a bar. Or anywhere else,
for that matter. Wonder when he
got so choosy.
They sit in silence for a moment. Harry grimaces, hiding a
wave of pain. It passes. Harry hesitates. There's something he
wants to say.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 45*.
41 CONTINUED: 41
HARRY
You're a good cop, Steve. I'm
sorry we haven't gotten to know
each other better.
STEVE
Three nights in a car together, I
know your favorite radio station,
how you take your coffee, and why
you hated Titanic. What else is
there?
HARRY
I meant before. All these years
working in the same building.
Never really talked.
STEVE
It's a big department.
Harry stops, rebuffed. Then:
HARRY
I see a lot of your mother in you.
STEVE
You knew her?
HARRY
I introduced her to your father.
STEVE
Guess I should thank you.
If Harry was hoping Steve would start asking questions, he's
going to be disappointed.
HARRY
Got a girlfriend?
Steve looks over at Harry. What is this?
STEVE
I'm seeing someone.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 46*.
41 CONTINUED: (2) 41
HARRY
She okay with you spending all
these nights away from her?
STEVE
She knows it's the job.
HARRY
They always say that. Then one
day, they stop meaning it. You
won't know how much it really hurt
her until she's already left you.
STEVE
You know a lot for a guy who never
got never married.
HARRY
Don't I?
(then)
Being a cop's a good thing. Being
a cop and having a life...
(then)
If I had a son, that's what I'd
wish for him.
He puts a paternal hand on Steve's shoulder. Steve isn't sure
what this is all about exactly. Fortunately, that's when Steve
notices RANDY HORSTING, 40s, staggering out of the bar, his
arm around a BEAUTIFUL WOMAN in shorts and a halter top. She's
about half his age.
STEVE
Horsting.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 47.
41 CONTINUED: (3) 41
He starts the car as Horsting hoists his new ladyfriend into
the passenger seat of his truck. Harry stares at Horsting
hungrily.
HARRY
I've got you now.
And as the pickup truck pulls into traffic, Steve's car
following, we GO:
42 EXT. PARK - NIGHT 42
As Steve's car pulls up, lights off, a few hundred feet behind
Horsting's pickup.
43 INT. STEVE'S CAR - NIGHT 43
Harry is struggling against the pain, focussing his mind on
the truck in front of them.
STEVE
Are you all right? *
HARRY
Sore back from sitting in the car. *
I'll be fine. *
44 EXT. PARK - NIGHT 44
Horsting climbs out of the cab of his truck and goes around
the other side. He pulls the girl out of the cab, and they
both land on the ground, laughing.
45 INT. STEVE'S CAR - NIGHT 45
Steve watches, dubious.
STEVE
This doesn't feel right.
HARRY
It's him. Just wait.
They do. As:
"Voices Carry" 12/2/98 (GREEN) 48.
46 EXT. PARK - NIGHT 46
Horsting and the girl are back on their feet. Horsting grabs
her and kisses her. Then twists her arm behind her back -- too
hard. She pulls away -- or tries to. Horsting backhands her
across the face, then grabs her before she can fall and throws
her into the back of the pickup truck.
47 INT. STEVE'S CAR - NIGHT 47
Harry's already grabbing for his door handle. So is Steve.
HARRY
Seen enough?
And he's out the door, Steve right behind him.
48 EXT. PARK - NIGHT 48
Horsting has climbed into the back of the truck and is about
to jump on the girl when Steve pulls out his gun and aims.
STEVE
Police!
Horsting looks up -- then leaps out of the back of the truck
and runs into the driver's seat. Steve's about to squeeze off
a shot when the girl sits up in the back, blocking him.
Horsting slams the truck into gear and peels out, sending the
girl flying out of the back of the truck onto the ground.
HARRY
Get the girl!
Steve runs over and kneels by the girl on the ground as Harry
aims and fires...and fires...and fires. The truck rumbles on
for a few feet, then stops, its HORN BLARING. Harry runs over
to it, but before he reaches the driver's door, he's seized by
a spasm of pain and collapses.
49 STEVE 49
Checks to make sure the girl is okay. She blinks up at him,
dazed.
STEVE
Are you all right?
She nods. Steve looks around for Harry and sees
"Voices Carry" 12/2/98 (GREEN) 49.
50 BACK TO SCENE 50
Harry is lying on the ground, writhing in agony.
STEVE
(to the girl)
I'll be right back.
Steve rushes over to Harry, who's gasping for breath.
HARRY
Did we get him?
Steve glances over at
51 THE PICKUP TRUCK 51
Where Horsting is slumped over the wheel, dead, his lifeless
torso still pressing down on the horn.
STEVE
You got him.
Harry nods, satisfied, then closes his eyes. And as Steve
whips out his cell phone, we GO:
52 INT. COMMUNITY GENERAL HOSPITAL - ICU - DAY 52
Where Harry lies in bed, hooked up to IVs, monitors, and all
sorts of other equipment. Mark comes in, looking grim.
HARRY
You look like you've got bad news.
MARK
Nothing you don't already know,
I'd guess. You've got cancer.
HARRY
Colon cancer.
MARK
That's where it started. Now it's
spread through your entire body.
HARRY
So I've got, what, a couple weeks?
Maybe a month?
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 50.
52 CONTINUED: 52
MARK
It didn't have to be like this. If
you'd come in for treatment
early --
HARRY
I'd have been on chemo for a year.
Think the Clown would have taken
the time off out of respect?
(then)
Cheer up, Mark. Today's a good day.
MARK
You finished your life's work, now
you can die in peace?
HARRY
There are worse things, aren't
there?
MARK
I suppose.
Harry is seized by a momentary fear.
HARRY
As long we got the right guy.
They're going to make the case
stick against him, aren't they?
MARK
He's dead, Harry. You shot him.
HARRY
We have to know.
MARK
Horsting's house was full of
violent pornography. He's got a
huge collection of knives in his
garage.
HARRY
Not enough.
Mark smiles gently. He was holding back a little.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 51.
52 CONTINUED: (2) 52
MARK
Steve found the make-up the Clown
used on his last victim in the
glove compartment of Horsting's
truck.
Harry relaxes. Then tries to get up out of bed.
HARRY
There's one more thing I have to
do.
MARK
It can wait until you're a little
stronger.
HARRY
It's been waiting fifteen years.
(off Mark's look)
The file from the first Clown
killing. It's at home. I've been
waiting all this time to mark it
closed.
MARK
My shift is over in a couple of
hours. I'd be happy to get it for
you -- if you're a good patient.
He gently pushes Harry back down on the bed.
HARRY
I can wait. I'm good at that.
And on his peaceful look, we GO:
53 INT. HARRY'S HOUSE - DAY 53
Mark unlocks the door and steps inside. The moment he enters,
it's clear that he is shocked, and saddened by what he see:
this isn't a home, it's a storage unit for the Clown Killer
task force.
Mark wanders slowly through, taking it all in, when he spots
a framed photo of a WOMAN. He picks it up and studies it for
a moment...
"Voices Carry" 12/2/98 (GREEN) 52.
54 THE PHOTO 54
It's old, perhaps forty years, but the woman's beauty hasn't
dimmed at all.
55 BACK TO SCENE 55
He strokes her face tenderly with a fingertip. This was Mark's
wife. He set the photo down and goes to the table, where he
finds the bulging, original Clown case file.
Mark is heading for the door when the FAX MACHINE hums to life
and spits out a page. Mark goes to the machine and takes the
page...his face immediately registering his horror.
56 THE FAX - HIS POV 56
It's a note, each letter a different font. Mark reads it aloud:
MARK'S VOICE
How does it feel to switch places,
Harry? I picked Horsting, you
killed him. What a team we make!
"All the world loves a clown".
0130.
57 BACK TO SCENE 57
Mark puts the note down, shaking with rage. Then something
occurs to him. He rushes out.
58 EXT. SUBURBAN HOUSE - DAY 58
An EXPLORER is parked in the drive-way. Kids toys and bikes
are on the front lawn. It's the very picture of domestic,
family bliss. But for some reason, it seems to unsettle Mark
as he approaches the front door. He knocks. ANNE, 40s,
attractive but harried, opens the door. Two YOUNG KIDS, maybe
three or four years old, run around playing in the entry hall
behind her.
ANNE
Can I help you?
MARK
I'm Dr. Mark Sloan. I'm looking
for Howard Weber. His secretary
told me I could find him here.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 53.
58 CONTINUED: 58
ANNE
He's around back, grilling some
salmon for dinner. We've been back
a month and still haven't unpacked
the kitchen.
MARK
Back?
ANNE
From Saudi Arabia. We move so
much, sometimes I think it would
be easier just to live in a tent.
One of the kids SCREECHES. Anne smiles apologetically.
ANNE
Excuse me. I have to prevent a
murder.
(then)
You can get to the back through
the gate.
She closes the door. Mark, clearly shaken, walks around the
front, opens the gate and goes into the
59 EXT. BACKYARD - DAY 59
To see Howard Weber standing at the barbecue grill in a "KISS
THE COOK" apron, a big smile on his face.
WEBER
You're just in time, Dr. Sloan.
Dinner is almost ready. Fresh
salmon, lightly seasoned. It's
great for you.
MARK
You're the Clown Killer.
The kids run out the back door and chase each other around the
grass. Weber smiles at Mark.
WEBER
Of course I am.
Mark looks at the kids, then back at him.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 54.
59 CONTINUED: 59
MARK
You've murdered sixteen women.
WEBER
Closer to forty, but who's
counting?
MARK
I don't understand. You have a
family. You must put some value on
human life.
WEBER
It wouldn't be fun otherwise.
Mark stares at him in horror. This is a nightmare.
MARK
The women you killed... they are
no different than your wife and
kids.
WEBER
I would never do to my wife and
kids what I do to the women.
(then, to kids)
Cheryl, stop pulling Jimmy's hair.
How would you like it if he did
that to you?
Weber smiles at Mark and flips the fish over with a spatula.
WEBER
Complicated guy, aren't I?
Anne sticks her head out the back door.
ANNE
How long until dinner is ready?
WEBER
Another five minutes, honey.
He sprinkles some more seasoning on the fish and turns to Mark.
WEBER
It's not like I don't want to do
it to my wife. I would if it was
something she could survive. But
as we both know, it's not.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 55.
59 CONTINUED: (2) 59
MARK
You can't go on killing. We'll
stop you.
WEBER
From what I read in the papers,
you already have. The Clown Killer
is dead. The case is closed.
(then)
Everybody must be so relieved. I
know I feel a lot safer now.
Anne comes out and sets dishes on the picnic table.
ANNE
Will you be staying, Dr. Sloan?
MARK
Thank you, but I'm feeling a
little sick to my stomach.
WEBER
I'm sure it will pass.
Mark turns to leave.
WEBER
Oh, doctor...
Mark looks over his shoulder. Weber smiles.
WEBER
All that stuff I said? Just
clowning around.
Weber gives Mark a big wink. And on Mark, disgusted and
horrified, we FADE OUT.
END OF END OF ACT THREE
"Voices Carry" 12/2/98 (GREEN) 56.
ACT FOUR
FADE IN:
60 INT. POLICE STATION - NEWMAN'S OFFICE - DAY 60
Mark paces angrily in front of Newman's desk as Steve looks
on. Newman is angry too -- but he's staying cool. He's more
dangerous that way.
MARK
Howard Weber is the Clown.
NEWMAN
That's funny, I thought Randy
Horsting was the Clown.
(then, to Steve)
You remember Randy Horsting, don't
you, Lieutenant? He's the guy your
commanding officer shot in the
back last night.
MARK
Weber set up Horsting to save himself.
NEWMAN
So when Horsting's relatives
launch a $90 million wrongful
death suit against this
department, I guess we can tell
them it really wasn't our fault.
STEVE
Horsting was a violent rapist who
was fleeing from police pursuit.
NEWMAN
At least, that's what looks good
on the report.
Steve wants to leap across the desk and throttle his captain.
Instead, he slaps a file folder in front of him.
STEVE
I've tracked down three of Horsting's
previous victims, and they all
confirm he raped them. He threatened
to kill them if they pressed charges.
Newman barely glances at the file.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 57.
60 CONTINUED: 60
NEWMAN
That's reassuring. Maybe if we put
that at the top of the press
release, no one will notice the
small print where it says oops, we
still haven't caught the Clown.
STEVE
We know who he is now. Let's tear
his house apart. Or better yet,
let me bring him in.
NEWMAN
And I'm going to get a warrant
based on what?
MARK
His confession, for one.
NEWMAN
That would be the confession he
gave you while he was barbequeing
dinner for his kids? You want me
to go to a judge with that?
Mark can't believe what he's hearing.
MARK
So what's your alternative? We let
him keep killing?
NEWMAN
If he really is the Clown, he's
not going to kill now. Not with
the case closed and the
possibility that we're watching
him.
STEVE
Unless that just makes it better.
Newman sighs. He wants this to go away.
NEWMAN
I'll authorize a 24-hour watch on
Weber for the next two weeks. But
if one word leaks out that we're
not sure Horsting was the Clown,
I'm yanking the surveillance. Is
that clear?
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 58.
60 CONTINUED: (2) 60
STEVE
Yes, sir.
Newman takes up a file and starts leafing through it. Steve is
dismissed. But Mark isn't ready to go yet.
MARK
Weber is smart. He'll just wait
until he's out of the country to
start killing again.
NEWMAN
Then it won't be our problem, will
it?
And on Mark's rage, we GO:
61 INT COMMUNITY GENERAL HOSPITAL - ICU 61
Where Harry lies in bed, surrounded by newspapers all of which
feature screaming headlines about the death of the Clown
Killer. Mark comes in, carrying the file like it weighs a ton.
Harry smiles at him.
HARRY
Come to finish me off, Mark?
MARK
I don't understand.
HARRY
You've got the murder weapon in
your hand.
(off Mark's look)
The Kit Camry file. The clown's
first killing. You know the only
reason I'm hanging around is to
write closed on it.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 59.
61 CONTINUED: 61
Now Mark understands. He fingers the fax from the Clown.
MARK
I'm afraid it's not going to be
that easy.
HARRY
There's one thing I learned after
forty years in homicide: Dying is
always easy. It's life that's hard.
MARK
I went to your house to get the
file...
HARRY
Then you know what I mean. Fifteen
years I buried myself in the hunt
for the Clown Killer. I was the
only one who could stop him --
sure. Truth is, it kept me from
having to live my own life.
MARK
I know you forged that letter,
Harry.
Harry gazes up at him calmly. What's the point of lying now?
HARRY
I had to.
MARK
You brought him back.
HARRY
I'm sorry about Trudy Shedlow. But
then, I'm sorry about a lot of
things.
(then)
I never hated you for stealing
Katharine, you know.
MARK
Had me fooled.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 60.
61 CONTINUED: (2) 61
HARRY
I pushed her away. Told myself my
job was more important than any
relationship. Fact is, I was
terrified of committing myself to
another person.
(then)
Every time I looked at you, I saw
the man I was afraid to be.
Mark accepts that. Then:
MARK
I think she understood that.
HARRY
Let me have the file, Mark. I'm
not afraid anymore.
Mark thinks about it, then hands him the file -- after taking
out the fax. Harry's about to write "closed" on the file when
he notices the piece of paper in Mark's hand.
HARRY
What's that?
MARK
Just a prescription. Something to
let you sleep a little better.
And with that, Mark folds the fax and stuffs it in his pocket.
62 EXT. SUBURBAN HOUSE - NEXT DAY 62
Mark is back, knocking on the door. Anne Weber opens it,
smiling when she sees Mark.
ANNE
Dr. Sloan -- I'm afraid you just
missed Howard. He's on his way to
the refinery.
MARK
Actually, I'm here to see you and
the kids.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 61.
62 CONTINUED: 62
ANNE
I don't understand.
MARK
Howard didn't tell you?
(off her look)
I'm heading up Triax Petroleum's
new family health care program. My
goal is to personalize our service.
ANNE
It's about time.
She welcomes Mark inside.
63 INT. SUBURBAN HOUSE - DAY 63
She leads Mark into the living room. There are still MOVING
BOXES everywhere.
ANNE
The company doctors always treat
me like a robot that's
malfunctioned. I'm afraid one of
these days they'll just decide I'm
too expensive to repair.
Mark smiles warmly.
MARK
I want to harken back to the days
of the old-fashioned family
doctor -- starting with an initial
house call to get to know everyone
and their health problems.
ANNE
What a marvelous idea. It's the
last thing I'd expect from Triax.
So where do we start?
MARK
With your family's health history.
Let's begin with your pregnancy.
And on her willing smile, we DISSOLVE TO:
"Voices Carry" 12/2/98 (GREEN) 62.
64 INT. SUBURBAN HOUSE - DAY 64
Mark is now entertaining the kids with LITTLE MAGIC TRICKS
while Anne prattles on.
ANNE
...and Cheryl got the measles and
krupe when we were in England. It
was so cold and damp there...we
seemed to catch everything. Jimmy
had a constant ear infection. It
was hell. I thought moving to
warmer climate would make a big
difference.
MARK
Did the transfer to Saudi Arabia
improve their health?
ANNE
Not really. I swear, Cheryl and
Jimmy are like flypaper for germs,
viruses and parasites. Maybe it's
the moving... maybe the difficulty
of adjusting to new environments,
new foods, and new people affects
their immunity...
Mark stops his tricks. Something she's said has struck him.
MARK
That's certainly possible. Could
you show me the drugs the children
have been taking?
Anne rises.
ANNE
Sure.
She leaves the room. Mark entertains the kids for a moment or
two until she returns, carrying a box, which she sets on the
table.
ANNE
They aren't taking most of this
stuff any more. But I've hung on
to it just in case.
He sorts through the bottles.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 63.
64 CONTINUED: 64
MARK
Tetracycolene. Benedryl.
Physostigmine ointment. Lomotil.
Amoxicillin. Cefaclor.
He holds up the ointment.
MARK
Is Jimmy still taking this?
She nods, a little guiltily.
ANNE
I didn't say anything about it to
the customs people. To tell you
the truth, I was afraid they
wouldn't let him back into the
country.
She doesn't know Mark as well as we do. She can't see he's got
exactly what he came here for.
MARK
Jimmy is going to be just fine.
I'll see to that.
And on his reassuring smile, we CUT TO:
65 INT. COMMUNITY GENERAL - PATH LAB - DAY 65
Mark is leaning over a microscope, Amanda watching over his
shoulder.
MARK
This sample is from Trudy Shedlow,
right?
AMANDA
Yes.
MARK
And you didn't see this on Sally
Jenkins?
AMANDA
Definitely not. I checked and
rechecked.
Mark leans back from the microscope and sighs.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 64.
65 CONTINUED: 65
MARK
Then we know for certain now that
Sally Jenkins and Trudy Shedlow
were not murdered by the same man.
AMANDA
But you knew that already.
MARK
Now I know much more.
Before Amanda can ask what the heck he means by that, Howard
Weber strides in.
WEBER
I won't let you harass my family
and violate our privacy.
Mark rises from his seat.
MARK
Amanda, this is Howard Weber. You
don't know him, but you're
familiar with his work.
(then)
He's responsible for Trudy Shedlow.
Amanda stares at Weber in horror. If this was meant to shock
or unsettle Weber, it doesn't work. Amanda goes across the
room to the phone. We don't hear who she calls...but a moment
later, we HEAR the HOSPITAL OPERATOR paging STEVE SLOAN to the
pathology lab over the PA SYSTEM.
WEBER
You impersonated a Triax physician
in order to extract personal
information from my wife and
children.
MARK
I'm glad you stopped by. I've been
looking into your son's eye problem.
WEBER
Expect to be contacted by our
lawyers, who are filing a
complaint with the Medical
Association as we speak.
Weber advances on Mark, who doesn't flinch.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 65.
65 CONTINUED: (2) 65
MARK
He's still got a nagging case of
desert lice. A subspecies of
pediculus palpebrarum, that lives
in the eyelids and eyelashes...
and is unique to Saudi Arabia.
All it takes is the slightest
human contact to pass it to
someone else. His ointment isn't
doing much good.
WEBER
Your concern for my children is
touching. But they are already
being cared for... by a doctor
who, unlike you, will still be
practicing medicine next week.
Weber turns and starts to go. Amanda joins Mark.
MARK
I found the same parasite in Trudy
Shedlow's eyelashes. She's never
been to Saudi Arabia.
Weber stops and faces Mark for a parting shot.
WEBER
But Randy Horsting has. More proof
that you caught, and killed, the
right man. How gratifying for you.
AMANDA
Just one problem -- Horsting isn't
infected with the parasite.
MARK
Your son, on the other hand, is.
So unless he's the Clown...that
leaves you.
WEBER
And thousands of people who arrive
in the United States from Saudi
Arabia every day.
That's when Steve arrives... with two officers in tow. Weber
merely smiles.
CONTINUED
"Voices Carry" 12/2/98 (GREEN) 66.
65 CONTINUED: (3) 65
STEVE
It's enough to arrest you... and
obtain a search warrant for your
house, car, and office.
Weber isn't shaken at all as Steve handcuffs him.
WEBER
It's such a waste of time. Are you
sure you want to do that?
(to Mark)
I will walk out of jail tomorrow
an innocent victim of police
incompetence...the press will
hound me, of course. I'll probably
have to hire a publicist...maybe
even an agent.
STEVE
I'll take that chance.
WEBER
The public will wonder just who
the police killed the other
night...and why. It may be years
before the police department
regains the public's trust and
respect... if ever.
Steve leads Weber away towards the elevators.
66 INT COMMUNITY GENERAL - LOBBY - DAY 66
Mark follows Steve to the elevator.
WEBER
The good news is there could b