HAUNTED 1X03: FIDELITY ORIGINAL AIR DATE ON UPN: 10/08/2002 TRANSCRIBED FROM UPN Written by: ROB WRIGHT Directed by: RICK WALLACE Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the Transcriptionist RATING: TV-PG-LV ========================== DISCLAIMER: ========================== "HAUNTED" and other related entities are owned, (TM) and (c) by IE (tm) Industry Entertainment, CBS Productions, and VIACOM Productions, a Paramount Company. All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. CONDITION OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: Someone is luring married women to motel rooms to kill them. Frank investigates when he's hired by one of the women's husbands to find the real killer. Frank really gets involved when one of the dead women starts communicating with him. ========================== HAUNTED 1X03: FIDELITY ========================== COLD OPEN: NARRATOR: Previously on "Haunted" [Scene from 1X01: Pilot] (In the hospital after FRANK is revived, he talks with JESSICA.) JESSICA: You can't go charging in there like that. You're not a cop anymore. FRANK: It's a good thing because if I was, I'd still be waiting for you guys at the DA's office to get me a warrant. (Cut to: In JESSICA'S HOME, they talk about their son.) JESSICA: (crying) Kevin has been gone for nearly two years. FRANK: I just want to know. JESSICA: What, that some twisted psycho murdered our son? I'm not like you, Frank. I don't want the truth. I won't survive it. (Cut to: On the rooftop, FRANK is hanging off the edge. SIMON leans down to finish FRANK off.) SIMON: Simon says it's time to die. (Suddenly, FRANK grabs SIMON and pulls him over the edge of the building where he falls to the ground below.) (Cut to: [Probably cut from 1X01: Pilot] The CORONER talks to FRANK about SIMON'S dead body which is on the table between them.) CORONER: The suspect's name is Simon Dean. He has at least three priors for assault; one against a minor. (While looking over the body, SIMON'S eyes suddenly open wide, his hand reaches up and grabs FRANK by his throat. SIMON sits up on the morgue table.) SIMON: Storm's coming, Frank. FADE OUT. END OF PREVIOUSLY ON: [EXT. STREET -- DAY] (On this windy day, police cars converge outside the hotel building.) CUT TO: [INT. ADDISON HOTEL ROOM - DAY] (A camera bulb flashes. Window blows tissue across the room. MARCUS walks over to the window and closes it.) MARCUS: Man, I hate this time of year. Those Santa Anas make people crazy. (The crime scene photographer takes a picture of the body in the bathtub and leaves.) [BATHROOM] (RUBY PRATT is submerged under the water in the bathtub, her eyes wide open.) OFFICER: (to MARCUS) Name is Ruby Pratt, age 29. We found a company ID badge in her pocketbook by the bed. She was a sales rep for lexicon copiers. MARUCS: A cheap hotel, drowned in the bathtub signs of strangulation, too. Same M.O. as the Avery woman's murder last week. OFFICER: Coroner estimates she's been dead three hours. MARCUS: Mm, judging by the lividity, I'd say two. (The camera flashes.) [MAIN ROOM] (MARCUS and the OFFICER step out of the bathroom.) MARCUS: Who found her? OFFICER: Maid. MARCUS: Face up in less than eight inches of water. Horrible way to go. FRANK: (o.s.) Never heard of a good way. (MARUS looks toward the voice and motions FRANK over as he walks toward him.) (cc) OFFICER 2: Sir, you can't come in. (FRANK talks with the officer, then walks into the hotel room.) MARCUS: What are you doing here? FRANK: I heard dispatch call it in. Sounded a little bit too close to the Avery murder so I figure I'd better check it out. (FRANK walks into the bathroom to look at the body in the bathtub.) MARCUS: And why is the Avery murder your business? FRANK: Wallace Avery hired me twenty-four hours ago to find out who killed his wife. MARUCS: Well, I hate to tell you this, my friend but, uh, your client is my suspect. FRANK: Yeah, he did say he had a 200-pound pit bull up his you-know-what fingering him for his wife's murder. (FRANK walks out of the bathroom and starts looking around the hotel room.) MARCUS: Two hundred? Now I am going to bust him. FRANK: He's got an alibi for this, Marcus, and for his wife. (FRANK walks over to the television set and looks at the overturned mug with evidence marker #7 in front of it.) FRANK: You're looking for a pattern killer. MARCUS: You don't know that. FRANK: Come and look at the redness on Ruby Pratt's nose and mouth. (FRANK and MARCUS walks toward the gurney carrying the body that the CORONERS' office is wheeling out. MARCUS motions for them to open the bag.) (They unzip the bag; MARCUS leans in to look at what FRANK is talking about.) FRANK: Look familiar? Remember, Belinda Avery's autopsy report showed trace amounts of hexane in her nasal passages and lungs. CORONER: Industrial-strength brake fluid. FRANK: (nods) It's mildly abrasive when it comes in contact with the skin. You pour enough of it on a cloth and gag someone with it, it works just like chloroform. These aren't crimes of passion, Marcus. This is a pattern. OFFICER AT DOOR: (o.s.) Sir! Sir! BOB PRATT: Let me through. She's my wife, for god's sake. (BOB PRATT pushes the officer aside and looks into the hotel room. He stops when he sees the body on the gurney. He takes a step forward and starts crying.) BOB PRATT: Oh, my god. (crying) Oh, my god. Oh ... (BOB PRATT leans forward and gathers RUBY'S dead body toward him and cries.) BOB PRATT: Ruby ... MARCUS: (to FRANK) Uh, you better let me handle this. FRANK: (nods) Yeah. (FRANK steps aside as MARCUS walks up to BOB PRATT.) (There's a howling wind and the door slams shut.) CUT TO: [INT. ADDISON HOTEL -- HALLWAY IN FRONT ELEVATOR - DAY --CONTINUOUS] (The elevator stops of the third floor and FRANK steps inside. He presses button to floor #1.) (The lights in the elevator start to flash on and off. The elevator starts to jerk to and fro. FRANK reaches out to the elevator walls to brace himself. He starts hearing a woman crying.) (He looks up at the flashing elevator lights and sees a different kind of light above him. FRANK starts choking. He puts a hand around his neck as he can't breathe.) (The woman continues to cry and scream.) (FRANK starts pounding the flat of his hand on the elevator panel. Things start getting rough. The elevator drops. FRANK puts out his hands against the elevator walls to brace himself.) (The lights continue to flash on and off as the elevator falls. FRANK starts screaming.) (Suddenly everything stops.) (FRANK falls to the floor. The elevator stops falling. The lights return to normal.) (FRANK slowly gets up as the elevator doors open. A dark-haired woman is standing there filing her nails. She rushes into the elevator when she sees FRANK.) NADINE POWELL: Oh, my gosh. Are you okay? What happened? Did the elevator get stuck? FRANK: (breathing heavily) Yeah. Then it got unstuck. (The elevator bell rings and the doors start closing. NADINE picks up something from the elevator floor and holds the door open while FRANK catches his breath.) (She holds out the book of matches to FRANK.) NADINE POWELL: Are these yours? (He takes them and steps out of the elevator. NADINE follows him.) [HOTEL LOBBY - DAY -- CONTINUOUS] (FRANK walks out of the elevator and then turns when he realizes that he's walking in the wrong direction. NADINE follows him.) NADINE POWELL: Um, officer ... FRANK: I'm not a cop. NADINE POWELL: But you were in the room. FRANK: I'm a Private Investigator. NADINE POWELL: Well, I was just wondering if I could go up and take a peek. FRANK: A peek? NADINE POWELL: Yeah, at the crime scene. I'm an amateur sleuth. I've read everything. I'm even a member of the James Ellroy Crime Club. FRANK: James Ellroy, huh? (She smiles.) What's your name? NADINE POWELL: Nadine Powell. I'm the desk clerk. FRANK: I'll tell you what, Nadine. Go upstairs and ask for Detective Bradshaw and tell him Mr. Taylor sent you. And, um, do yourself a favor. Take the stairs. (NADINE smiles and hurries off. FRANK turns around and stands there for a moment, still trying to catch his breath. He sighs.) FADE TO BLACK. END OF TEASER. ROLL TITLE CREDITS. INTRODUCTION: Two years ago, my son was taken from me. Since then, I've lost everything: My job, my marriage, even my life. But I came back, and the dead came with me. (COMMERCIAL SET) FADE IN. [EXT. VARIOUS CITY SKYLINE (STOCK) -- DAY] [EXT. COURT -- DAY] (FRANK leans against the column waiting for JESSICA. He's lost in his thoughts and is completely surprised when she walks up to him from behind.) JESSICA: Frank? (He's startled.) JESSICA: A little jumpy, aren't we? FRANK: Hey. JESSICA: You must be feeling better. FRANK: My client's off the hook? JESSICA: Well, his alibi checked out if that's what you're asking. FRANK: So where's that leave the DA's office? JESSICA: Back to square one. But what's it to you? Your client's cleared. FRANK: Avery wants his wife's killer. JESSICA: Mind your client that we do, too. FRANK: So did you guys call in a profiler yet? (She turns and walks down the steps. FRANK follows her.) JESSICA: Yeah, Jack Thompson. FRANK: Let me guess. He says you're looking for a male caucasian late 20's, early 30's intelligent, strong, loner type. JESSICA: Exactly. FRANK: I just paid a little visit to Ruby Pratt's boss over at Lexicon Copiers. JESSICA: Ruby Pratt's boss? FRANK: Belinda Avery was a regional sales manager for Herion Technologies. Lexicon copiers was her biggest account. Guess who her best sales rep was. JESSICA: Ruby Pratt. So they both could have known the killer. You're amazing. FRANK: Just common sense. JESSICA: No, you're always ahead of everyone else. That's why I hated going to movies with you. You figured them out in the first ten minutes. (JESSICA stops walking and turns to FRANK.) JESSICA: I found an old picture of us and Kevin in a scrapbook last night. And I though you might like it. (She hands the photograph to FRANK who looks at it. It's of the two of them with KEVIN standing up behind them.) FRANK: Jess ... you're looking at pictures again? JESSICA: I miss those days. (She swallows. FRANK nods. JESSICA nods, then turns and leaves.) (FRANK stands there a moment before also turning to leave.) CUT TO: [INT. FRANK TAYLOR INVESTIGATION -- DAY] (FRANK looks at the photograph of BELINDA AVERY. WALLACE AVERY sits in front of FRANK'S desk.) WALLACE AVERY: I really don't care if I've been cleared as a suspect, Mr. Taylor I just want to know who killed my wife. FRANK: I'm trying, Mr. Avery. WALLACE AVERY: Found out anything? FRANK: I believe the killer knew both your wife and this other victim Ruby Pratt. WALLACE AVERY: (shakes his head) Never heard of her. FRANK: Well, she was one of your wife's best sales reps. WALLACE AVERY: Belinda had dozens of good reps all over the country but what does this have to do with it? FRANK: Both Ruby and your wife went to these motels. More than likely with the same man. (WALLACE shakes his head and stands up.) WALLACE AVERY: Belinda wouldn't have an affair. She wasn't that way. She loved me. I know she did. When I got called down to the morgue and I had to see what some sick bastard did to her ... (He starts crying.) WALLACE AVERY: I'm sorry. I'm sorry. (WALLACE AVERY walks out of the room behind the glass partition.) (FRANK takes a moment and looks at BELINDA AVERY'S photograph again. He cuts himself.) FRANK: Ow ... (He stands up, shaking the hand with the bleeding paper cut on it. He stops and looks at his cut. It's not bleeding anymore. FRANK looks back at the photograph on the desk. FRANK dabs at the cut.) (WALLACE AVERY walks back in the room and notices FRANK standing up.) WALLACE AVERY: Are you all right? FRANK: Yeah. It's just, uh, just a little paper cut. I'm going to do everything I can for Belinda, Mr. Avery. WALLACE AVERY: Thank you. FRANK: I'll be in touch. (They shake hands and WALLACE AVERY leaves the office. FRANK closes the door.) (He walks back to his desk. The camera holds on the photograph.) CUT TO: [INT. PSYCHIC EYE BOOK SHOP -- DAY] (FRANK is in the book shop looking around. He walks up to a book shelf. The worker offers to assist.) GIRL: Can I help? FRANK: Uh... just browsing. GIRL: (nods) Astrology, tarot, numerology, eastern religions cults, voodoo, name it, I've got it. FRANK: Ghosts? GIRL: (nods) Mm-hmm. (A wind comes out of nowhere and blows some books down to the floor in front of his feet. The door bell rings as the front door closes.) (FRANK and the GIRL kneel down to pick up the books. She points to the book in FRANK'S hands.) GIRL: Oh ... That one's a must. Describes the five levels of hauntings. Sense attack, communication uh, electrical control ... you know ... your blender and your toaster go on the fritz ... FRANK: Is that right? (He stands up with the book.) GIRL: Uh, level four is the trickster stage -- poltergeists and angry ghosts. All a big set up for number five, the danger level. Lost souls motivated in death to achieve what they couldn't in life. FRANK: (sighs) Great. GIRL: Well, plenty to choose from. Which would you like? FRANK: I'll take them all. GIRL: Must be some ghost. (He looks at her and chuckles.) GIRL: Okay. CUT TO: [INT. ADDISON HOTEL -- DAY] (FRANK walks into the motel and crosses the lobby. He walks up to the front desk not noticing the shirtless man watching him on the side of the counter.) FRANK: Hi, Nadine. NADINE POWELL: Hi. FRANK: Uh, you remember me? NADINE POWELL: Yeah, you're the Detective that was here the other day. Mr. Taylor. FRANK: Frank. Um ... (He looks down and notices her reading a magazine.) FRANK: Actually, Nadine, I have to do some investigating back up in the room and I was wondering if you ... NADINE POWELL: Yes. I mean, sure. (NADINE puts a sign out in the front of the front desk. It reads: "BACK IN 15 MINUTES".) (Cut to: FRANK and NADINE walk up the stairs.) NADINE POWELL: Do you have a problem with elevators? FRANK: No, they seem to have a problem with me. NADINE POWELL: So, Frank, what's your affiliation with the case? FRANK: I'm working for the husband of one of the victims. And I have a gut feeling that whoever did this is going to do it again. NADINE POWELL: I do that, too. I listen to my gut when I'm trying to solve a case. Or ... when I'm reading one. (In the background, a phone rings.) NADINE POWELL: Damn, that's my boss. I'll be right back. (She turns around and heads back down the stairs.) (FRANK continues up.) CUT TO: [INT. ADDISON HOTEL - HALLWAY/ROOM - DAY -- CONTINUOUS] (FRANK picks the lock to get into the room.) (He opens the door and walks under the crime scene tape. He turns the light on and looks around. He stands in the middle of the room and can hear echoes of a woman screaming.) (He turns and heads slowly toward the bathroom.) [BATHROOM] (He turns the light switch on. The light flickers on.) (He looks into the tub and it's filled with dirty water that's overflowing out onto the bathroom floor.) (FRANK walks inside and sees that the faucet in the tub is dripping.) (Thinking that that is the reason why the water is overflowing, FRANK reaches out to turn the pipes off. He uses two hands and continues to twist the pipes. Unsuccessful to get the pipes to shut, he stands up and looks at the dirty water inside the tub. He sighs.) (FRANK tries another approach. He pushes his sleeve up and sticks his hand inside the tub to unplug it.) (He feels around, then is pulled completely inside the tub. Water splashes everywhere.) (The tub water settles and the pipes continues to drip.) (FRANK breaks through the surface of the tub gasping for air. Something inside the tub pulls him down. He reaches out and grabs ahold of the dripping faucet, trying to keep his face above the water. His other hand grips the bathroom tile.) (FRANK slips under the tub water again.) (Cut to: Living room top view of the bathroom tub.) FADE OUT. (COMMERCIAL SET) FADE IN. [INT. ADDISON HOTEL - BATHROOM -- DAY] NADINE POWELL: Mr. Taylor? (NADINE POWELL is sitting on the bathroom floor next to FRANK who is out cold and soaking wet. She taps him on the forehead trying to get him to wake up.) NADINE POWELL: Mr. Taylor? (She taps him again on the forehead.) NADINE POWELL: Frank? (She leans over him and tilts his head back. She puts her lips over his and breathes. FRANK wakes up.) FRANK: Nadine. (He pants.) I'm fine. (He then jerks up and sits up to look into the tub, remember what just happened. The tub is empty. And dirty. The pipe isn't dripping.) NADINE POWELL: Oh ... you had me a little scared there. What the heck happened here? FRANK: (panting) I slipped into the tub. It was overflowing. (FRANK stands up. NADINE hands him a towel.) NADINE POWELL: Well, sometimes housekeeping will leave the faucet dripping when they're cleaning the tubs. (FRANK walks out of the bathroom and into the living room. NADINE follows.) FRANK: I don't think this was housekeeping's fault. NADINE POWELL: So, did you get what you came for? FRANK: Not exactly. Nadine ... you work here. Why would a woman like Ruby Pratt pick a dump like this to have an affair in? NADINE POWELL: Honestly? We rent rooms by the hour. For a lot of the people that come in here it's not about feeling good about themselves. Sometimes, it's not even about the sex. It's about getting even with somebody. CUT TO: [EXT. CAR (MOVING) -- DAY] (FRANK drives looking for a particular house. He parks the car in the driveway and gets out.) [INT. PRATT RESIDENCE - DAY] (BOB PRATT sits outside in the backyard.) BOB PRATT: (upset) Know her? My own wife? I thought I knew her better than she knew herself. But ... maybe I didn't. A-are you sure I can't get you a drink? FRANK: No, thanks. Mr. Pratt, do you have any idea why your wife was at the Addison Hotel that day? BOB PRATT: I know exactly why she was there, Mr. Taylor. It was business. FRANK: Unfortunately, I deal with this issue a lot and, um ... I don't quite know how to tell you this ... BOB PRATT: (interrupts) Then don't tell me. Please. FRANK: Mr. Pratt, whoever killed your wife is probably going to kill again. So, if there's anything that you can think of. BOB PRATT: I wouldn't even know where to begin. Uh ... I'm a professor at a junior college. I teach math. In my world ... every problem has a definitive solution. In yours ... even if I knew the solution ... um, I'm not sure if I would want it. FRANK: I understand. (He nods, then reaches into his pocket to get a business card. He hands it to BOB PRATT.) FRANK: If anything else occurs to you. BOB PRATT: I'll call. FRANK: Uh, one more question. Um... besides yourself who was the one person in the world that your wife might have confided in? BOB PRATT: Maybe Alice Ianetta -- Ruby's best friend. CUT TO: [EXT. PARKING LOT -- DAY] (As they walk to her car, FRANK talks with ALICE IANETTA.) ALICE IANETTA: Well, I wouldn't say that we were best friends but we were pretty close, I guess. FRANK: Did she confide in you? ALICE IANETTA: What do you mean? FRANK: Ruby's murder suggests that she was seeing someone other than her husband. ALICE IANETTA: What business is that of yours, Mr. Taylor? FRANK: I'm just trying to make sure that more people don't die. ALICE IANETTA: (sighs) There was a guy. Jimmy Stent. Funny name, right? He was a musician. We met him at a convention in San Diego. Ruby thought he was cute. He had this shaved head and a Van Dyke. FRANK: Was it serious? ALICE IANETTA: They spent a lot of time together if that's what you're asking. FRANK: I'm asking was she in love with him. ALICE IANETTA: Well, I'm pretty sure that he was in love with her. FRANK: Why? ALICE IANETTA: He wanted more than she could give him. I don't think it ended very well. (ALICE leaves.) CUT TO: [INT. FRANK'S BUILDING-- DAY] (FRANK is on the phone with MARCUS.) FRANK: Haven't been able to run this guy Stent down. Supposedly, he's overseas. INTERCUT WITH: [INT. POLICE DEPARTMENT - DAY] MARCUS: Dead end? FRANK: I don't know. Apparently, Ruby dumped him about a month ago. (FRANK unlocks his door and walks inside.) MARCUS: You mean, like, for a normal guy? FRANK: Unless Jimmy Stent didn't like being dumped. MARCUS: I gotcha. I'll look into it. FRANK: I'd really appreciate it, Marcus. MARCUS: Oh, no problem. (MARCUS hangs up the phone and looks at JESSICA. He stands up and heads over to the counter to get a file.) MARCUS: Looks like Frank might've got a break. JESSICA: At least somebody's getting one. Seriously, have you ever worked on a case where this many suspects have alibis so bulletproof? MARCUS: We don't get to choose them. Look, when we put this guy Stent on the wire, who knows. We might get a hit. Frank's not the only one to get lucky, right? JESSICA: These days, I honestly don't know. MARCUS: What do you mean? (MARCUS sits down at his desk.) JESSICA: (sighs) Things have been different lately. MARCUS: You mean with Frank? JESSICA: Frank, me, everything. I don't know. (shakes her head trying to put it into words) It's like something isn't right. MARCUS: By that, I take it you're not talking about the current value of my pension. JESSICA: Really, you haven't noticed anything? MARCUS: Like what? JESSICA: Like the way Frank's been acting or the hours he keeps. MARUCS: Or the way he puts everything together so quickly. JESSICA: Exactly. Like he's suddenly found a crystal ball. MARCUS: Maybe he's just a good detective. JESSICA: Maybe. MARCUS: Come on. You and I both know we have good days and bad days. After eight years on this job, I figure they pretty much even out. I'm guessing it's the same for you. JESSICA: Sure. MARCUS: As for you and Frank, losing Kevin, splitting up ... you two have been through a lot together. So whatever this "thing" is I think you should talk about it with him. I bet he could use the call. CUT TO: [EXT. FRANK'S BUILDING - NIGHT] [INT. FRANK'S APARTMENT -- NIGHT] (FRANK is sitting and reading the book he bought that day.) FRANK: (v.o.) (reading) "A lost soul can be a powerful spirit capable of pushing or shaking. It can shatter windows or unlock doors. Make you feel dizzy, cold or nauseated. They can even reach out to the living in a physically hostile attack. (FRANK turns the page and the camera focuses on the black and white drawing on the page.) FRANK: (v.o.) (reading) But the key to dealing with any lost soul is to ascertain who the ghost was. Was their end just or unjust. Did they long for death, or was their love of life so strong they now are shocked to have it gone? (Dissolve to: Two other drawings in the book.) FRANK: (v.o.) (reading) Only by answering these questions can you understand what the ghost wants." (The phone rings startling FRANK.) (GUS sits on the couch behind FRANK. He barks, then whines.) CUT TO: [EXT. BAR - NIGHT] [INT. BAR -- NIGHT] (FRANK sits at the counter with NADINE POWELL.) NADINE POWELL: It's a cool place. And you have an office upstairs? FRANK: Believe me, James Ellroy wouldn't give it a second look. NADINE POWELL: (chuckles) Oh. FRANK: So, um ... on the phone you said you had something about the case. NADINE POWELL: Yeah. You know the victim? FRANK: Ruby. NADINE POWELL: Yeah. I think she was getting revenge on her husband. FRANK: How so? NADINE POWELL: Well, I saw him when the cops brought him to the hotel and he just had this look on his face. It was sheer horror. Like ... like it was the first time in his life he realized he didn't even know her. Poor man. FRANK: You came down here to tell me that? NADINE POWELL: Yeah. Well, actually ... I was thinking maybe I could buy you dinner. (She smiles at him expectantly.) FRANK: Dinner? NADINE POWELL: They serve food here, right? FRANK: Yeah, but, uh, um ... thanks, but I've ... I've got all this stuff to do upstairs um, with the case. So, um ... but-but thanks for the tip. (FRANK stands up. He can't get out of there fast enough. She watches as FRANK leaves the bar and heads back upstairs.) NADINE POWELL: (mutters) Some detective you are. You don't have a clue. (She takes a sip of her drink.) CUT TO: [INT. FRANK'S APARTMENT -- NIGHT] (FRANK goes through the papers in the file on his desk. He pins the two photos of the two women on his bulletin board.) (There's a thud.) (FRANK looks around, then looks down as the matchbook falls to the floor. He picks it up. It reads: "3 FOR 1 PAY FOR ONE NIGHT, GET TWO MORE FREE 555- 0182". He drops the matchbook into his open drawer.) (He walks back to his desk.) (GUS barks. FRANK looks at GUS. He sees a matchbook on the floor. He picks it up and looks at it. He glances over at the drawer that he thought he put the matchbook in, then back at the matchbook itself. It reads: "3 FOR 1 PAY FOR ONE NIGHT, GET TWO MORE FREE 555-0182." He flips it over. It reads: HYLAND MOTEL.) (FRANK looks at it and thinks.) CUE SOUND: (PRELAP) PHONE RINGING CUT TO: [EXT. - DAY] (MARCUS answers his phone.) MARCUS: Marcus. INTERCUT WITH: [INT. CAR (MOVING) - DAY] FRANK: Marcus? Get a unit over to the Hyland Motel on Sepulveda. MARCUS: Why? FRANK: Because that's where the killer's next victim is going to be if we don't hurry. MARCUS: And how do you know this? FRANK: I can't explain. MARCUS: Whoa, whoa, whoa, then I can't help. FRANK: Just meet me there. Please. (FRANK hangs up.) CUT TO: [EXT. HYLAND MOTEL] (FRANK pulls up outside the HYLAND MOTEL and gets out of the car.) (The POOLMAN sees FRANK and asks.) POOLMAN: You here for the three for one special? FRANK: A woman checked in here tonight looking like she was going to meet someone? POOLMAN: So? What's it to you? FRANK: She wasn't one of your regulars and she was alone, right? POOLMAN: I don't ... FRANK: I need to know where that woman is right now. She's in trouble. POOLMAN: It's L.A. Who isn't? (FRANK pulls out his gun.) FRANK: Not you. Not yet. POOLMAN: Name's Winters. Room 202. (FRANK rushes off.) (He kicks in the door.) [INT. ROOM 202 - NIGHT] (FRANK steps into the dark room and checks it. He looks around and doesn't see anything.) FRANK: Miss Winters? (He steps up to the bathroom door and can hear water running inside.) (He kicks the bathroom door in.) [BATHROOM] (The bathroom is dark and the water is running. The shower curtain is closed.) (FRANK turns on the light and walks up to the shower. He opens the curtain fearing the worst and finds the tub empty and the water not on.) (He stops and pants with relief.) (He takes a couple of steps backward toward the door.) (Behind Frank, we see the shower area overflowing with water.) (FRANK turns around slowly and sees MS. WINTERS floating around in the shower area, door closed and completely filled with water.) (The pressure of the water pushes the door open and she falls out along with all the water into the bathroom area.) (She falls out to the floor and right onto FRANK.) (FRANK struggles and stands up, furious that he's too late.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. HYLAND MOTEL -- DAY] (Down below, the coroners' wheel the bagged body out on a gurney across the lawn.) (FRANK leans over the railing as an OFFICER talks with him.) OFFICER: So, you don't remember anything else? Car parked here in the lot, another witness? FRANK: I was too late. OFFICER: You say that like you knew it was coming down. You brandished a weapon, Frank. That's a felony. Under the circumstances, I'll let it slide. But remember, you're not on the force anymore. (to MARCUS) And I'll see you in my office when this is over. (The OFFICER leaves.) MARCUS: That's bad déja vu. FRANK: Just like old times. (MARCUS gives a rueful chuckle.) MARCUS: (shakes his head) No, Frank. Things have definitely changed, man. Like, how did you know to come here? FRANK: Well, that was ... MARCUS: What-- a hunch? You know, if you ask me you hit this one a bit too close. FRANK: Not close enough. MARCUS: Okay. You know Marsha Winters was a buyer for Copyman Copy Shops? FRANK: Don't tell me -- a subsidiary of Lexicon Copiers? MARCUS: You got it. FRANK: All three victims connected through their work. That means the killer must have really known that world. MARCUS: Well, it's not Jimmy Stent. He was in Germany yesterday. (JESSICA walks up to them.) JESSICA: Hey. MARCUS: I asked her to come here. JESSICA: We're getting worried about you, Frank. How did you know that Marsha Winters was in danger? FRANK: I didn't know it was Marsha Winters. MARCUS: But you knew somebody was in danger. FRANK: Look, if I came to you and I told you I was sick would you believe me? If I came to you and told you I just won the lottery, would you believe me then? Why? JESSICA: Because I've never known you to lie. FRANK: Then you're just going to have to trust me when I say that I have some kind of ... insight into this case that I don't claim to understand but I also can't deny it. (MARCUS looks at JESSICA.) MARCUS: And we're just going to have to live with that? FRANK: I'm afraid so. (MARCUS walks away.) JESSICA: Look, I have something for you so, don't leave yet, okay? (JESSICA walks away.) CUT TO: [EXT. HYLAND MOTEL - STREET SIDE - DAY -- LATER] (FRANK walks over to his car; JESSICA rushes to catch up with him. She has a couple of files in her hand.) JESSICA: Case files for the Pratt and Avery murders. I'll get the Winters' when I can. FRANK: Why? JESSICA: (sighs) Because I am tired of seeing the bad guys get all the breaks. (FRANK turns around to look at JESSICA.) FRANK: That doesn't sound like you, Jess. JESSICA: I know ... but ... lately I've had this sense of dread and I just can't shake it. FRANK: (nods) Well, maybe you need to get away from it all for a little while. JESSICA: I don't think that I could get far enough. (She steps away, then leaves.) CUT TO: [EXT. VARIOUS CITY (STOCK) - EVENING] [EXT. FRANK'S BUILDING - NIGHT] [INT. FRANK'S APARTMENT -- NIGHT] (FRANK goes through the files, pulling out photos and sorting through information. He spreads them out on the office floor.) (He reaches for the two photographs that he pinned to the bulletin board and takes them down to put on the floor next to each other. He takes out the third photograph of the victim from the file and puts it side by side with the others.) FRANK: Okay. (A sudden gust of wind blows everything out of order and all around. It startles FRANK.) (GUS starts barking.) (FRANK looks down on the floor and there are three photographs side by side. All of them of RUBY PRATT. GUS starts growling.) (FRANK kneels down on the ground to study the three photographs placed there for him to see.) (The first photo is of RUBY in the bathtub.) (Cut to: Another photo of RUBY.) (Above the middle photo is the match book.) FRANK: "Three for One" (FRANK picks up the photo and looks at it. He stands up.) FRANK: Ruby. CUT TO: [EXT. PRATT RESIDENCE - FRONT WALK - NIGHT] (FRANK walks up the walk to the house. He walks up to the front door, house #1946 and peers in through the front door window. He rings the doorbell. He unholsters his gun and heads out the back.) (He walks around the house and comes up to the wire fence gate. It's padlocked shut. There's a dog growling in the distance. FRANK looks around. He checks behind in the forest.) (For some reason, FRANK climbs the hillside and down the hill further out back behind the house.) (He walks under the wooden bridge and finds the greenhouse.) (FRANK walks up to the greenhouse and peers in through the windows. He opens the door and walks inside.) (He takes out his flashlight and finds a batch of surveillance photos tacked to the board. The photos are of RUBY and her boyfriend, JIMMY STENT. FRANK: Pratt, you bastard. (There are dozens of photos on the desk in front of him. Also there is a bottle of HEXANE (INDUSTRIAL STRENGTH). ) FRANK: You knew she was cheating all the time. (FRANK takes out his phone and dials.) (Cut to: Standing just outside the greenhouse is BOB PRATT. He watches FRANK and listens in on his conversation.) FRANK: Nadine, it's Frank. Do me a favor. Get the hotel Addison registries for the last year and bring them over to my place, okay? Good, thanks. I'll see you in a half an hour. Right. (FRANK hangs up the phone and continues to look at the pictures. He turns off his flashlight when he hears something or senses that some one is there. He lifts up his gun and points it at the door.) (He looks around the greenhouse, then jumps out of the green house, onto the ground with his gun pointed up in the air where BOB PRATT used to be standing.) (FRANK turns around and sees RUBY PRATT on the floor blue and gasping for air.) (FRANK gets to his feet. The wind blows in and RUBY PRATT disappears.) (A strong gust of wind continues to blow the leaves from the ground where he just saw the woman die.) FADE OUT. (COMMERCIAL SET) FADE IN. [INT. FRANK'S BUILDING - HALLWAY OUTSIDE DOOR -- NIGHT] (NADINE POWELL walks up the stairs and turns the corner to FRANK'S apartment. She's carrying the hotel registration books that FRANK asked for. She knocks on the door and it opens, not being fully closed in the first place.) NADINE POWELL: (calls) Frank? [INT. FRANK'S APARTMENT - NIGHT - CONTINUOUS] (NADINE pushes the door open and walks inside.) NADINE POWELL: It's Nadine. (The door shuts behind her.) CUT TO: [INT. CAR (MOVING) - NIGHT] (FRANK is on the phone.) MARCUS (ANSWERING MACHINE): (from phone) Marcus Bradshaw. Leave a message. (The answering machine beeps and FRANK starts talking.) FRANK: (to phone) Marcus, listen, put an APB out on Bob Pratt right now. Ruby's husband. He's the killer. He murdered three to cover up one so that we would think it was a pattern killing and not a jealous husband. And get a unit over to his house and check the green house south of it. I'll be home getting more evidence. All right, later. (He hangs up the phone and parks the car outside his building.) CUT TO: [INT. FRANK'S BUILDING -- NIGHT] (FRANK opens his door and walks inside. He tries the light switch and it doesn't go on.) FRANK: Gus? (He reaches for his gun and slowly starts to move into the apartment.) (From behind him, a shadow approaches him. Carrying a red cloth, most probably with HEXANE on it, BOB PRATT grabs FRANK from behind and covers his nose and mouth with it.) (FRANK struggles, then falls to the floor with a thud.) FADE OUT. CUE SOUND: WATER RUNNING FADE IN. [INT. FRANK'S BUILDING - BATHROOM -- NIGHT] (FRANK opens his eyes and finds himself lying on the bathroom floor. Inside the tub is an unconscious NADINE POWELL. BOB PRATT sits on the edge of the tub waiting for the tub to fill up with water.) FRANK: No ... (BOB hears FRANK waken, lifts the gun and points it at FRANK who groggily gets to his feet.) FRANK: No! BOB PRATT: Quiet. (BOB PRATT stands up.) FRANK: (panting) It's not too late to stop this, Pratt. BOB PRATT: I think it's much too late. FRANK: How'd you get the women to the hotels? (FRANK glances over at the tub and sees the water rising. It's up to NADINE'S mouth.) BOB PRATT: Mm, I said that they were going to meet their husbands there. (snickers) How romantic. FRANK: How about your wife? You didn't have to offer Ruby a "fling," did you? She was already having one. BOB PRATT: Shut up. (FRANK looks over at the tub and sees that the water is above NADINE'S mouth, but below her nose.) FRANK: What'd you have to do? Pretend to be Jimmy Stent? BOB PRATT: Enough. FRANK: It's a real logical solution to your problem there, professor. Three for One. Disguise a crime of passion as a pattern killing. (The water is covering NADINE'S nose, tiny air bubbles periodically break the water.) BOB PRATT: Clever, huh? FRANK: No. Three women died from your jealousy. There's nothing clever about that. (The wind blows and the bathroom door closes shut with a bang. BOB is momentarily distracted by the movement. FRANK takes the opportunity and hits the gun out of BOB'S hands. FRANK knocks BOB to the bathroom floor.) (FRANK turns and drags NADINE out of the bathtub. Once she's out, he checks his holster and finds the gun gone.) (BOB gets up and jumps on FRANK'S back.) (The wind starts to blow in the bathroom.) (FRANK stands up and backs BOB up into the door. He throws BOB against the sink, then hits him. Again, he goes down. This time, he's out cold.) (The wind blows the bathroom door open.) (FRANK checks on NADINE.) FRANK: Nadine. Nadine. (She doesn't respond. He puts his mouth over hers and starts to breathe air into her lungs. She coughs, then opens her eyes.) (He helps her sit up. NADINE hangs on to FRANK.) FRANK: Hey. It's okay. It's okay. Okay. It's okay. (FRANK looks into the cracked bathroom mirror and sees a reflection of RUBY PRATT, blue and dead. He turns around to see if she's there, but she's not.) (When he looks back in the mirror, she's not there.) (FRANK hangs on to NADINE.) FRANK: It's okay. It's okay. Everything's going to be all right. CUT TO: [INT. FRANK'S APARTMENT -- NIGHT] (NADINE is strapped onto a gurney as the emergency personnel and other officers are there. JESSICA stands next to the bed looking through the hotel registry.) (An OFFICER escorts a handcuffed BOB PRATT out of the bathroom.) (In the background, MARCUS is on the phone. The camera pans over and we find FRANK in the doorway. MARCUS walks up behind him, hanging up the phone.) MARCUS: We found the photos at Pratt's. Plus, we turned up some divorce papers Ruby was about to file. (FRANK dials his own phone. MARCUS steps aside as FRANK reports back to WALLACE AVERY.) FRANK: (to phone) Mr. Avery? Listen, it's Frank. Um ... I got some news for you. (Cut to: NADINE explains what she found to JESSICA.) NADINE POWELL: And I found Ruby's name in last year's hotel registries. So she's been there before. JESSICA: Thanks for your statement. That's going to be very helpful. (FRANK walks up to them.) FRANK: That's for sure. (to JESSICA) Can you give us a minute? JESSICA: Mm. Okay, but remember to call if you need anything. (JESSICA steps aside.) FRANK: Well, I hear you're going to be okay. NADINE POWELL: So they tell me. FRANK: Look, I'm sorry ... NADINE POWELL: No. I'm sorry. It was stupid to just go in when I found the door open like that. I'm not a very good Detective. FRANK: No, you did great, Nadine. NADINE POWELL: (smiles hopefully) Yeah? FRANK: Yeah. And next time if you stop by my place I promise it won't be quite so bad. (He chuckles.) NADINE POWELL: No offense, Frank, but I'm never coming here ever again. FRANK: (nods) Take care. (The EMTs wheel NADINE'S gurney away.) (JESSICA walks up to FRANK. Together they walk down the hallway.) JESSICA: You okay? FRANK: Yeah. I'm getting used to rejection. JESSICA: I'm not talking about Nancy Drew. FRANK: Hey, we stopped one of the bad ones, Jess. JESSICA: Yeah. FRANK: What? (She sighs.) JESSICA: I just wonder how many more are out there. FRANK: Less of them than there are of us. JESSICA: I hope so. (She nods, then walks away. FRANK watches her as she goes.) MALE VOICE BEHIND FRANK: (o.s.) That was some nice work tonight Mr. Taylor. (FRANK nods.) FRANK: (absently) Thanks. SIMON: Now Frank ... (Something about the voice has FRANK turning to look to his side. He sees SIMON DEAN standing there, blue and very dead.) SIMON: What are we going to do about that “bad feeling” your wife's got? (FRANK turns to look at JESSICA. He turns back to SIMON.) (Only, SIMON'S gone.) (FRANK looks around the room, spooked and breathing hard.) (He leans back against the wall and presses his hands against his eyes.) FADE OUT. ======================== THE END ======================== [Captioning sponsored by Viacom Productions and UPN Captioned by Media Access Group at WGBH Access.Wgbh.Org] Courtesy of http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) Please do not archive this transcript without permission from the Transcriptionist. ======================== BEGINNING/TITLE CREDITS ======================== HAUNTED 1X03: FIDELITY ORIGINAL AIR DATE ON UPN: 10/08/2002 TRANSCRIBED FROM UPN Starring MATTHEW FOX as Frank Taylor RUSSELL HORNSBY as Marcus Bradshaw Created by: ANDREW COSBY & RICK RAMAGE Also Starring: LYNN COLLINS as Jessica Manning JOHN F. MANN Guest Starring: PAULEY PERRETTE KEN MARINO TODD PATRICK BREAUGH JULENE RENEE EDUARDO GARCIA Music by MARK SNOW Co-Producer: MOIRA KIRLAND DEKKER Co-Producer: ERIN MAHER Co-Producer: KAY REINDL Producer: ROB WRIGHT Produced by: TIM IACOFANO Supervising Producer: ANDREW COSBY Co-Executive Producer: RICK RAMAGE Written by: ROB WRIGHT Directed by: RICK WALLACE ======================== END CREDITS ======================== Executive Producer: SCOTT SHEPHERD Executive Producers: EMILE LEVISETTI Executive Producers: KEITH ADDIS IE (tm) Industry Entertainment CBS Productions Viacom Productions, A Paramount Company Coordinating Producers: BRIAN L. CHAMBERS / ROBERT P. COHEN Co-Starring JOHN COLELLA as Officer Hobbs REAMY HALL as Alice Ianetta PATRICK O'CONNOR as Coroner MARK JOHN PACKER as Night Clerk Director of Photography: GORDON C. LONSDALE Production Designer: GREG MELTON Edited by: SONDRA WATANABE Unit Production Manager: ROBERT P. COHEN First Assistant Director: JOE CANDRELLA Second Assistant Director: DAN SUHART Casting by VICTORIA BURROWS and SCOT BOLAND Production Executive: DAVE WATSON Set Decorator: NATALI POPE Costume designer: MARTY McLEOD Camera Operators: GREG RHINEER / DAVID RICHERT Chief Lighting Technician: JACK TODD Key Grip: JASON HODGES Make-Up Artist: DONNA CICATELLI Hair Stylist: MICHAEL WHITE Property Master: CHUCK McSORLEY Script Supervisor: HILARY MOMBERGER Special Effects Coordinator: ROBERT WILLARD Production Coordinator: MARIA C. DYLAN Casting Assistant: JOSH EINSOHN Production Sound Mixer: MAURY HARRIS, C.A.S. Supervising Sound Editor: MICHAEL O. LYLE Music Editor: JEFF CHARBONNEAU Post Production Supervisor: COLIN A.B.V. LEWIS Assistant Editor: GERALD VALDEZ Re-Recording Mixers: LARRY BENJAMIN, C.A.S. / ROSS DAVIS , C.A.S. Script Coordinator: MEGHAN DOWD Assistant to Mr. Shepherd: STACIA RAYMOND Assistant to Mr. Addis: S. FISH Assistant to Mr. Levisetti: MICHELLE CLARK Assistants to Producers: TARYN P. KELLY / JENNIFER THOMPSON / KENNETH MOK / CHRIS KELISHES Post Production Video Services Provided by THE POST GROUP Post Production Sound by ECHO SOUND SERVICES, INC. Film Processing Provided by C.F.I. The Ghost Hunter's Bible - The Definitive Edition, Written by Trent Brandon, Zerotime Paranormal Publishing, Copyright 2002 Main Title by THE PICTURE MILL Filmed with PANAVISION (R) Cameras & Lenses Executive in Charge of production: BRUCE KERNER The persons and events in his film are fictitious. Any similarity to actual persons to events in unintentional. (c) 2002 VIACOM Productions Inc. All Rights Reserved. First Publication USA. Viacom Productions Inc. is the author of this program for purposes of Article 15(2) of the Berne Convention and all national laws giving effects therein. This motion picture is protected under the laws of the United States and other countries. Unauthorized duplication or exhibition may results in civil liability and criminal prosecution. Dated:07/27/2003~lky http://www.webphilia.com/~anthology/wnp.html