HAUNTED
1X06: NOCTURNE
ORIGINAL AIR DATE ON UPN: 10/29/2002
TRANSCRIBED FROM UPN
Written by: ANDREW COSBY
Directed by: VERN GILLUM
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: Frank is possessed by the spirit of a murdered man.
==========================
HAUNTED
1X06: NOCTURNE
==========================
COLD OPEN:
NARRATOR: Previously on "Haunted"
[Scene from Probably 1X01: Pilot]
[INT. MORGUE - DAY]
(SIMON DEAN is on the autopsy table, dead. FRANK is leaning over him examining
him. The CORONER, JIMMY LAMARR, talks to him about the body.)
JIMMY LAMARR (CORONER): (v.o.) 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 DEAN: Storm's coming, Frank.
CUT TO:
[Scene from 1X04: Abby]
[EXT. CEMETARY - DAY]
(FRANK and MARCUS stand side-by-side in the cemetery in front of RACHEL LANDRY'S
marker.)
MARCUS: There's something going on with you, Frank. You haven't been right
since the Mason case ... and I know dying and coming back to life has got to
bring heavy changes, but ...
FRANK: (mutters) More than you know ...
MARCUS: All these hunches you get ...
CUT TO:
[Scene from Unknown episode]
[INT. DANTE'S TATTOO PARLOR - DAY]
(FRANK stands in to the side listening to DANTE.)
DANTE: That special talent that you brought back from the other side, it makes
you glow in the dark, my friend. Lots of people claim to see ghosts, but very
few can claim to be seen by ghosts, Frank.
FADE OUT.
END OF PREVIOUSLY ON
FADE IN.
[INT. UNKNOWN APARTMENT -- DAY]
(The radio turns on and starts playing music to wake FRANK up. Camera slowly
moves across the table to show the overturned lamp on the night table. FRANK
reaches above his head and shuts the radio off.)
FRANK: Oh, god.
(He puts a hand to his forehead and groans. From his position on the bed, he
looks around the room. The place is a mess. He falls back on the bed. He's
fully clothed and somehow, we get the impression that something happened that he
can't remember. He takes a couple of deep breaths and looks at his bloodied
knuckles.)
(He gingerly sits up in bed, his body a mass of aches and pains. He looks at
his knuckles and lifts up his shirt where we see a large bruise on the right
side of his body just below the ribs. He's definitely in pain. He puts his
head down, elbows on his knees and takes a couple more deep breaths.)
FRANK: (mutters) Oh, this not good.
(He gets up and makes his way to the bathroom where he turns the faucet on to
splash water on his face. He shuts the water off and straightens. He looks in
the mirror and sees the reflection of a MAN IN BLACK over his own reflection.
The MAN stares at him, then disappears.)
(Through the mirror reflection, FRANK sees a body on the floor in the room
behind him on the other side of the bed. He turns around to look.)
(He walks over to check on her. On the other side of the bed, a WOMAN is lying
on the floor, unmoving.)
(FRANK checks on her. The back of her head is bloodied. FRANK looks at the
blood on his hands.)
(Suddenly, the woman gasps and looks at FRANK.)
FRANK: It's okay. Don't try to move. Don't try to move.
(The WOMAN takes one look at FRANK and starts to scream. She falls back down,
unmoving.)
(FRANK looks around, then reaches for the phone. He dials.)
EMERGENCY OPERATOR (WOMAN): 9-1-1. Emergency.
FRANK: Yeah, I've got a woman here; she's hurt. I need an ambulance right
away.
EMERGENCY OPERATOR (WOMAN): All right, sir, just calm down and tell me where
you are.
(FRANK looks around the room and realizes ... )
FRANK: I, uh ... I don't know.
(Camera holds on FRANK.)
FADE TO
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.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
[OBSERVATION ROOM]
(Through the two-way mirror, JESSICA and MARCUS watch two other detectives
interview FRANK.)
DETECTIVE SYKES: So, Frank, tell me about the woman.
FRANK: I've never seen her before.
DETECTIVE SYKES: You meant before you attacked her?
FRANK: Before I found her.
DETECTIVE SYKES: Right. And you can't tell me what you were doing in her
apartment because you don't remember? The fact is, you don't remember much of
anything, do you? You know, me and my partner we have a word for stories like
this. What's the word I'm thinking of, Faraday?
DETECTIVE FARADAY: Convenient.
DETECTIVE SYKES: That's right: Convenient.
DETECTIVE FARADAY: Mm-hmm.
DETECTIVE SYKES: But this little memory lapse of yours doesn't exactly make for
an airtight alibi.
FRANK: I'm sorry. It's the only one that I've got.
DETECTIVE SYKES: Frank ... I know about your son. How you lost him, your
marriage ... your job on the force. I know that kind of pain can get you all
twisted up inside. Make you do things you don't really want to do. But it's
okay. Just tell me what happened.
FRANK: I told you already ... I don't remember.
DETECTIVE SYKES: Well, what if I was to tell you that the woman you "found"
worked in law enforcement?
(FRANK looks at them. He doesn't remember.)
DETECTIVE SYKES: She's a cop, Frank. And there are a lot of other cops who'd
love to get their hands on the scum that did that to her.
FRANK: What possible motive could I have?
DETECTIVE SYKES: Now, right there, that's an interesting question.
(FARADAY steps forward shaking a prescription bottle. He puts it on the table
in front of FRANK. FRANK glances at it and chuckles.)
FRANK: You've been to my apartment.
DETECTIVE SYKES: Yeah. Thought maybe a familiar item might help jar the memory.
FRANK: They help me sleep.
DETECTIVE SYKES: Or maybe they help you forget? Come on, you were a cop once
upon a time. Tell me, how do you think this sounds? (to FARADAY) Want to help
him out?
DETECTIVE FARADAY: Conspicuous.
DETECTIVE SYKES: Right again, partner. Conspicuous ... which really is just a
fancy way of saying you were so full of ...
(JESSICA bursts into the room interrupting the "interview".)
JESSICA: This interview is over.
DETECTIVE SYKES: I agreed to let you observe because he's your ex-husband, but
I'm not done here.
JESSICA: Yes, you are. Because whether you like it or not, Frank has rights.
So, unless you to officially ...
DETECTIVE SYKES: Since when did you become a defense attorney?
JESSICA: When you turned this into a witch hunt.
DETECTIVE SYKES: For your information Miss Assistant D.A. You waived his right
to counsel, so you need to back off before ...
(FRANK stands up.)
FRANK: You want me for assault, you just finish that sentence.
(FRANK takes a couple steps toward the window. He turns around.)
FRANK: Look, am I under arrest?
DETECTIVE SYKES: No ... no, you're free to go.
(FRANK and JESSICA turn to leave the room. SYKES turns around to watch them
leave.)
DETECTIVE SYKES: (softly) Just don't go far.
CUT TO:
[EXT. POLICE DEPARTMENT -- DAY]
(JESSICA and FRANK exit the police department building. JESSICAL is still
fuming from her encounter with Detective Sykes.)
JESSICA: Can you believe that guy? What a jerk.
FRANK: Jess! Just doing his job, Jess. If the shoe were on the other foot I'd
be kicking just as hard, maybe harder.
JESSICA: (still upset) Yeah, well, if that ever happens give him a good one
for me, okay?
FRANK: You know that I would never...
JESSICA: I know.
FRANK: (relieved) Thanks for coming to my rescue in there.
JESSICA: You won't thank me when you hear what I have to say.
FRANK: Why? What's going on?
JESSICA: Sykes is Internal Affairs. They're building some sort of case against
you.
FRANK: I don't understand. Did the victim finger me as her attacker?
JESSICA: No, she couldn't; she's in a coma. The doctors think she may not make
it. You know how this works. If she dies, we go from assault to murder.
You're going to need a lawyer.
FRANK: What's her name?
JESSICA: Damn it, Frank, you're not listening to me.
FRANK: If I'm going to be accused of murdering someone, I'd like to know what
her name is.
JESSICA: (hesitant) Adams. Her name is Angela Adams. But you have got to
stay away from her for all of this for your own good.
FRANK: Jess, I got to go.
(FRANK turns and walks away from JESSICA, leaving her standing there watching
him leave. She knows that he's not going to leave it alone.)
CUT TO:
[EXT. FRANK'S APARTMENT - DAY]
[INT. FRANK'S APARTMENT -- DAY]
(Camera moves slowly across the office floor to show the mail piled up in front
of the door. The front door opens and FRANK walks in carrying a large package.
He kicks the mail aside to get the door open and closed.)
(GUS barks when FRANK walks into the apartment. FRANK turns and smiles. He
heads for GUS.)
FRANK: Hey, Gus.
(FRANK pets GUS on the head.)
FRANK: You know, I brought dinner. The least you can do is clean up around
here a little bit.
(GUS growlphs back at FRANK. FRANK heads through the living room to the
kitchen.)
FRANK: What's it going to be?
(FRANK puts the package down on the counter and takes out the bags of dog food.)
FRANK: Kibbles or bits?
(GUS barks.)
(FRANK reaches into the package and takes out a charge slip. He looks at it:
CLAUDIA'S PET PALACE A55A
2 IMMUVA (?) DOG FOOD
{CHARGE #} 1234 5678 9020
{PHONE #} 316-555-4669
{# ON BOTTOM OF SLIP} 5748822
SHORT TIME CUT TO:
(FRANK is on the telephone.)
FRANK: That's right, "Taylor." Last four digits are 2-9-5-8 and I need to know
if anything was charged to my credit card over the last week. (He reaches for a
pencil.) Can I get an address for that, please?
CUT TO:
[EXT. STREET - DAY]
(FRANK'S car pulls up along side the curb. He parks, gets out and heads inside
GIAN'S.)
[INT. GIAN'S -- DAY]
(The SECURITY GUARD sits and leafs through a JUGGS magazine. FRANK walks up to
him. The SECURITY GUARD is startled and shuts the magazine.)
FRANK: Don't tell me, for the articles, right?
SECURITY GUARD: Jeez, I thought you was my boss.
FRANK: No. But, um ... is he around? Because, apparently, I'm renting an
office from him.
SECURITY GUARD: That was funny. I didn't think you did funny. You okay?
You're acting kind of weird.
FRANK: Yeah, I'm fine, I'm just ... a little tired, that's all.
SECURITY GUARD: Yeah, that night shift will do it to you. What's it been?
About a week now?
(The SECURITY GUARD goes back to reading his magazine.)
FRANK: Speaking of which, you don't happen to remember what time I left here
last night, do you?
SECURITY GUARD: No, sorry.
FRANK: Well ... I guess I'll get back to work, then.
(FRANK casually walks past the SECURITY GUARD, trying to pretend that he knows
what's going on.)
SECURITY GUARD: Whatever. (beat) Excuse me.
(FRANK stops and turns to look.)
SECURITY GUARD: Office is that way.
(The SECURITY GUARD points in the opposite direction before going back to his
magazine. FRANK turns around and heads in the right direction.)
CUT TO:
[INT. OFFICE - DAY -- CONTINUOUS]
(FRANK walks down the hallway till he comes to an office area. It's open, so
FRANK steps inside. He looks around and finds surveillance photos hanging on
the line drying.)
(He walks across the room to the small desk area where he finds a collection of
surveillance photos tacked to the wall with the occasional small yellow post-it
sticking to them. On the post its are a single spiral design.)
(The photos are all of the same young, blonde woman.)
(FRANK looks at the photos.)
(A shadow moves across the wall in the hallway behind FRANK.)
(He turns around to look.)
(He takes out his gun and investigates. He cautiously puts his back to the wall
and checks the hallway out.)
(He steps into the hallway and walks toward the broken door.)
(He gets nearer sensing movement. He raises his gun and finds himself looking
back at his own image in the mirror.)
(He sighs, turns and walks back down the hallway without a backward glance.)
FRANK: (murmurs) Great. Now I'm chasing my own tail.
(The camera pushes past FRANK and back to the mirror. Inside the mirror's
reflection, we see a man standing in the doorway.)
FADE TO BLACK.
(COMMERCIAL SET)
FADE IN.
[INT. POLICE DEPARTMENT - MARCUS' OFFICE -- DAY]
(FRANK is sitting behind MARCUS' desk. He looks over the paperwork on the desk
at a box at the edge of the desk. He reaches over and takes what looks like a
spring roll out of the box. He bites into it just as the front door opens and
MARCUS walks into the office humming.)
MARCUS: Hey ... I was saving that. Damn, Frank, you seen a mirror lately?
(MARCUS closes the door. FRANK gets up from the seat behind the desk.)
MARCUS: You look worn out.
(MARCUS walks past him to take his seat behind his desk.)
FRANK: I feel worse than I look.
MARCUS: Yeah, I don't think that's possible. Still having trouble sleeping?
FRANK: Apparently. Tell me what you know about Angela Adams.
MARCUS: Nothing much to tell. She's a records clerk over at the 11th. Shy
type; keeps to herself mostly.
FRANK: I spoke to her landlord at her apartment. He says she just rented the
place a week ago. Her real address is in Brentwood. There's only two reasons
you move from uptown to downtown. Either you're broke ...
MARCUS: (nods) ... or you're hiding from somebody. And what do you want from
me?
FRANK: I need you to get Internal Affairs off my back while I do a little
digging.
MARCUS: Look, I'll do what I can, but we're talking I.A. Here.
FRANK: Just get me 48 hours, Marcus. Okay? 48 hours.
(FRANK turns to leave the office. MARCUS stops him.)
MARCUS: Why were you running surveillance on Angela Adams?
(FRANK turns around and pauses.)
FRANK: That's exactly what I'm trying to find out. Look, Marcus, I'm sorry.
That's all I can tell you right now.
(FRANK opens the door to leave; MARCUS stops him.)
MARCUS: You know, this trust thing ... it works both ways.
(FRANK pauses in the doorway.)
CUT TO:
[INT. FRANK'S APARTMENT -- EVENING]
(FRANK is sitting behind his desk. A book open in his hands and a pen in his
right hand for taking notes, but his eyes are closed. As he drifts off to
sleep, the book falls back down a bit in his lap.)
(There's a whoosh. The book falls off his lap and to the floor naturally.
FRANK doesn't wake up. His hands start to move. Slowly his left hand grabs the
pen from his right hand and searches for a piece of paper to write on.)
(The hand falls on the desk on a folded newspaper where FRANK starts to draw the
same spiral design over and over and over and over ... )
(GUS barks.)
(And FRANK wakes up.)
(Groggy, FRANK sits forward and sees the doodles on the newspaper. He
recognizes the design. Camera holds on the design.)
CUT TO:
[EXT. PARK -- DAY]
(FRANK and DANTE are walking along side the park. FRANK discusses what's been
happening to him with DANTE.)
FRANK: See, Yesterday morning I wake up, I'm in a strange apartment don't know
where I am or where I've been ...
(They stop under a tree. FRANK sits down on the bench.)
FRANK: ... and there's a woman ...
DANTE: (cheers FRANK) Oh, that's my boy. Back in the land of the living
getting your freak on.
(DANTE takes the seat next to FRANK.)
FRANK: She was beaten, Dante. Nearly to death. For some reason, Internal
Affairs is involved and they think I did it.
DANTE: You set them straight, right?
FRANK: I'm afraid it's not that simple. I think they may be right. Today I
dozed off, just for a few minutes and when I woke up I had drawn at least a
dozen of these.
(FRANK shows the newspaper doodles to DANTE who looks at them seriously.)
DANTE: Really?
FRANK: It's called automatic writing. What little research there is on the
subject claims that spirits attempt to communicate through the written word.
Comes in all kinds of forms: Foreign languages, unfamiliar images ... and even
symbols like this spiral pattern.
DANTE: Are we talking possession?
FRANK: That's what I'm afraid of. The woman that was beaten, Angela Adams, I
found pictures of her plastered all over this downtown office space along with a
bunch of those spiral patterns.
DANTE: (sighs) That's heavy, man.
FRANK: I could have hurt that woman. Maybe even tried to kill her and I
wouldn't even know it.
DANTE: No ... you see, people don't go against their nature, Frank and that
kind of violence is definitely not your nature. It's just not in you.
(FRANK sighs. He desperately wants to believe DANTE.)
CUT TO:
[EXT. FRANK'S APARTMENT -- NIGHT]
[INT. FRANK'S APARTMENT - NIGHT]
(The camera travels slowly along the room. There's an open book, DEAD SPEAKS,
hanging on the arm rest of the nearby chair. The camera passes it by and moves
into the living room where we see a shadow move along the far wall. We hear a
long, low sigh.)
(The camera moves into the office and rests on the desk where there are large
black and white photos of ANGELA ADAMS on the desk top. The camera moves past
the desk to show GUS sitting on the floor.)
[SHADOW'S POV]
(The camera moves closer to GUS. GUS raises his head and perks up. He barks
and whimpers helplessly. The camera moves directly over GUS and past him.)
CUT TO:
[INT. FRANK'S APARTMENT - BEDROOM - NIGHT -- CONTINUOUS]
(Inside the bedroom, the gray-ish colored entity appears. He gazes at the bed
where FRANK is asleep.)
(Camera close up of the entity. He's a man in his 30's wearing a dark gray
suit. On the left side of this head, there's a bloody gash where he sustained
injury. Probably the blow that killed him. He walks up to the bed, stands
there a moment, then lowers himself into FRANK'S sleeping body.)
(As soon as his spirit takes over FRANK'S body, FRANK'S eyes open with a gasp.)
(FRANK sits up and stares out directly into the camera. His skin is tinged in
gray and his eyes have an unnatural silver-shine in them.)
CUT TO:
[EXT. FRANK'S APARTMENT -- STREET -- NIGHT]
(Camera moves down to show MARCUS sitting in a parked car across the street from
FRANK'S apartment. He takes a sip of his coffee. In the background through the
window on the building wall, we see a shadow of a man walk rapidly past the car.
We hear a car engine start.)
(MARCUS turns and sees FRANK'S car start and drive off. He quickly puts down
his cup of coffee and waits as FRANK'S car passes by his parked one. He starts
his engine and follows discretely.)
MAN: Here we go.
CUT TO:
[EXT. STREET -- NIGHT]
(FRANK'S car parks along side the curb where hookers try to pick up dates.
MARCUS watches from across the street and using a high-powered camera, snaps
photos of FRANK.)
(Cut to: Camera lingers on the shadow figures on the red bricked building wall.
The shadow figures of two women talking to each other. A third shadow figure
which is obviously FRANK, walks up to the two women and starts to talk with
them.)
(Cut to: MARCUS watches. He takes notes.)
(Cut to: FRANK walks down the sidewalk through the women and men. Some
distance behind him, MARCUS takes out his camera and takes photos of FRANK
talking to the various people.)
(Cut to: FRANK parks his car alongside the curb of a XXX VIDEO RENTAL. He gets
out of the car. He stops and talks to a man standing outside the doorway of the
XXX VIDEO RENTAL. MARCUS snaps more photos of FRANK speaking with various
people.)
(FRANK walks around the building and disappears around the corner and out of
MARCUS' sight. He puts the camera down and gets out of the car.)
(MARCUS crosses the street and follows FRANK into the dark alleyway. He looks
around and sees nothing but darkness. MARCUS walks into the alleyway.)
MARCUS: Hey, Frank?
(MARCUS walks into the middle of the alleyway.)
MARCUS: Hey, Frank, is that you?
FRANK (POSSESSED): You looking for me?
(MARCUS starts and turns around. He only sees FRANK'S darkened figure standing
in the shadows.)
MARCUS: Hey, man ... Don't sneak up on a brother like that.
(FRANK starts walking toward MARCUS.)
FRANK (POSSESSED): Why are you following me?
(MARCUS doesn't say anything.)
FRANK (POSSESSED): I asked you a question.
MARCUS: Hey, man, what the hell...
(FRANK swings and hits MARCUS in the jaw. MARCUS falls back toward the wall.
FRANK grabs MARCUS by the neck and holds him up against the wall. In his other
hand, he holds the barrel of a gun against MARCUS' temple.)
FRANK (POSSESSED): I'll ask again: Why are you following me?
MARCUS: Hey, Frank, just calm down and tell me what's going on.
(FRANK hits MARCUS again. This time, MARCUS falls unconscious to the alley
floor.)
FRANK (POSSESSED): Wrong answer. (beat) And for the record ...
(FRANK looks up as he puts his gun away, his face lighted by the street lights
outside the alley and for the first time, we see that his face is gray-tinged
with the unnatural silver glint in his eyes. He pants heavily.)
FRANK (POSSESSED): My name is not “Frank”.
("FRANK" leaves.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT./INT. STREET -- DAY]
(FRANK sits at the end of the bar alone. He puts a hand up and rubs his tired
eyes. He sighs and sniffs. He's tired.)
(MARCUS enters the bar and makes his way angrily toward FRANK. FRANK stands up
to meet him.)
FRANK: What the hell happened to you?
(As soon as he reaches FRANK, MARCUS swings and decks him one. Hard. FRANK
falls down completely unprepared for the greeting. The other patrons in the bar
turn around to see what's going on. MARCUS stands there and looks at FRANK on
the floor.)
FRANK: (grunts and coughs) Okay ...
(He chuckles humourlessly.)
FRANK: I'm assuming I deserve that. You want to tell me why?
(Rather than get up, FRANK sits on the floor. MARCUS throws the photos he took
of FRANK from the night before down on the floor in front of FRANK.)
MARCUS: From last night.
(FRANK looks at the photos.)
FRANK: I wonder why I'm so damn tired.
(FRANK continues to look through the photos. When he's done, he looks up at
MARCUS still standing in front of him.)
FRANK: You took these?
MARCUS: What do you think?
FRANK: (wryly) Well, the composition's a little weak but all in all, I'd say
not too bad.
MARCUS: (frustrated) I swear, Frank, if you don't give me a straight answer
instead of your lip, we're going to finish this discussion with my foot up ...
FRANK: Easy, big guy. I can explain everything.
(FRANK slowly gets to his feet.)
MARCUS: Yeah? Well, this better be good.
(They both sit down in the booth.)
FRANK: I probably should have told you about this a ways back but ... it just
never seemed like the right time. These last few cases have been pretty rough,
and, um ... you know I haven't been sleeping a whole lot lately, right? Well,
there's a reason for that.
(He pauses. And for a moment, we think that he's really going to tell MARCUS
the truth. Then ... )
FRANK: I've been working undercover. The FBI's assembled a special task force
to deal with missing persons and, uh ... I volunteered to go deep cover. I was
meeting a contact last night and I couldn't risk them making you as a cop. I'm
sorry, man. I had no choice. You were about to blow my cover. If there had
been any other way ...
MARCUS: Wow. Then I guess that just leaves me with one question.
FRANK: What's that?
MARCUS: How stupid do you think I am? Please, Frank, FBI task force? Blow
your cover?
(MARCUS laughs. FRANK sits back in his seat.)
MARCUS: Is that the best you could come up with? Oh, you're a good cop ... a
good partner ... and this private-eye thing, you're good at that, too. But this
...
(MARCUS motions with his finger, his hand moving back and forth between him and
FRANK to indicate their friendship.)
MARCUS: ... it needs work. Now, if you need to play me for now, fine. I can
deal. But ask yourself this: How far is too far? And don't make me choose
between you and the job, Frank.
(MARCUS stands up and leaves. FRANK leans forward over the table and sighs.)
CUT TO:
[INT. FRANK'S APARTMENT -- DAY]
(Camera opens on the folded newspaper with the spiral pattern drawn all over it.
Next to it and slightly underneath it is the surveillance photo of ANGELA ADAMS.
Camera moves across the desk to show more photos of ANGELA ADAMS with a sporatic
yellow post-it note piece of paper with a spiral pattern stuck on it. In the
middle of the photos is one of the photos MARCUS took of FRANK standing in the
alleyway.)
(FRANK sits at his desk looking at the mess in front of him and sighs.)
(He reaches out and picks up the photo of the alleyway and looks at it.
Something in it catches his eye. He stands up and gets a magnifying glass out
of his desk. He returns to his seat and looks at the photo closely. In the
back is a neon sign with a symbol that looks like the Japanese hiragana
character "chi" in the center of a circle. The character is ornate with the
bottom swirl in the shape of the spiral pattern that FRANK'S ghost has him
writing.)
(FRANK puts the magnifying glass down and picks up the newspaper with the spiral
pattern on it. The two look very similar. He sighs and stands up.)
(Camera pushes in slowly toward the neon sign in the photo.)
DISSOLVE TO:
[EXT. CLUB - EARLY EVENING]
(Camera dissolves into the neon sign. FRANK walks up to the sign and stands
directly underneath it, looking at it. He heads inside.)
CUT TO:
[INT. CLUB - EARLY EVENING -- CONTINUOUS]
(Camera opens on a woman kissing an older male customer on the cheek. She
stands up to leave and hands him the end tube of an old oriental smoking device.
She walks across the club. The camera moves from her to FRANK as he enters the
club.)
(He walks into the club and looks around. The CLUB OWNER sees FRANK and leaves
the women he's standing with and heads for FRANK. He's not pleased to see FRANK
at all.)
KIKO (CLUB OWNER): Not again. That's not cool, my man. Not cool at all.
FRANK: I need some answers.
KIKO (CLUB OWNER): I can't stop people from dealing in my club. That's your
job, not mine. Besides, I already told you I don't know no Martinez.
FRANK: What are you talking about?
KIKO (CLUB OWNER): (agitated) Hello, Pete, this is repeat. Martinez,
remember? I told you, he don't come in here. So, there's no reason for you go
busting up my place again.
FRANK: Okay, here's the deal: Why don't you just tell me exactly what happened
last night? It'll save me some time and you some money.
(The CLUB OWNER sighs.)
KIKO (CLUB OWNER): You came in here looking for some low-rent smack dealer
named Martinez. I told you my crowd is strictly x -- maybe a little nose candy
-- but that wasn't what you wanted to hear.
FRANK: This Martinez have a first name?
KIKO (CLUB OWNER): How many times I got to tell you, Malone? I don't know no
Martinez.
FRANK: What did you just say?
KIKO (CLUB OWNER): What?
FRANK: You called me Malone.
CLUB ONWER; So? That's your name, right? Detective Malone.
FRANK: Who told you that?
KIKO (CLUB OWNER): Are you high or something?
(FRANK grabs the CLUB OWNER by his shirt front and pulls him up. The CLUB OWNER
is scared. There's a shiney glint in FRANK'S eyes.)
FRANK: Just answer the question! Who told you that my name is Malone?
KIKO (CLUB OWNER): (gasping) You did.
CUT TO:
[EXT./INT. FRANK'S APARTMENT -- DAY]
(FRANK is sitting at his desk working on his laptop. He's doing some research
on the internet and the following is on his monitor:
OBITUARIES:
"Detective Thomas Malone Killed During Drug Raid"
{photo of THOMAS MALONE}
(He scrolls down the page and the headline reads: "I.A. SQUAD MOURS LOSS".)
(He prints out the article.)
CUT TO:
[INT. -- HALLWAY -- DAY]
(FRANK sits in the bench in the hallway. The doors open and JESSICA walks in.
FRANK stands up to greet her.)
FRANK: Hey.
JESSICA: (smiling) To what do I owe this surprise? Business or pleasure?
(FRANK unfolds the article he printed out.)
JESSICA: Ah, that's what I thought.
(He shows it to JESSICA.)
JESSICA: What am I looking at?
FRANK: Thomas Malone. He worked for internal affairs. Found his body in a
crack house last week. Two rounds to the back of the head -- execution style.
Now, the cops think it was a drug-related shooting.
(She looks up at FRANK.)
JESSICA: But I take it you've got a different theory.
FRANK: What was an internal affairs investigator doing in a crack house, alone?
(They turn and head down the hallway.)
JESSICA: I.A. has uncovered corruption in the police department -- confiscated
drugs being sold back to the dealers. Maybe that's what Malone was working on.
FRANK: That would explain Angela Adams. As a records clerk, she'd have access
to the evidence inventory.
JESSICA: You think she was involved?
FRANK: I don't know. We got one cop in the ground and one in a coma. Both
potentially linked to a corruption scandal in the LAPD.
JESSICA: Any suspects?
FRANK: Besides myself? (chuckles) No, but I'm working on it.
JESSICA: Well, you'd better work fast because Sykes has been snooping around my
office asking all kinds of questions about you. Like what were you like when we
were married? Did you have a bad temper? Things like that. They think you're
their guy, Frank.
(FRANK turns to leave.)
FRANK: Listen, do me a favor. See what you can find on a two-bit drug dealer
named Martinez.
JESSICA: You got a first name?
FRANK: If I did, I wouldn't need the favor.
CUT TO:
[EXT. POLICE DEPARTMENT -- NIGHT]
(FRANK tries to get some information out of DETECTIVE SYKES. DETECTIVE SYKES
walks angrily toward his car. FRANK is hot on his heels.)
DETECTIVE SYKES: I'm not going to discuss this investigation especially with
our number one suspect.
FRANK: Just trying to find a connection between Malone and Angela Adams.
DETECTIVE SYKES: Oh, so, what? You want me to help you dig dirt on Malone just
so you can save your own ass?
FRANK: Not, likely.
DETECTIVE SYKES: Malone is more than just a member of this department. Let me
tell you something; he was my friend.
(DETECTIVE SYKES stops and turns around to look at FRANK.)
FRANK: Then help me find his killer.
DETECTIVE SYKES: Well, maybe I already have.
(DETECTIVE SYKES stares at FRANK.)
FRANK: So, now I did both Malone and the Adams woman?
DETECTIVE SYKES: Well, you said yourself you thought they were both connected.
FRANK: Listen to me for a minute. Maybe Angela was cooking the books or maybe
she just stumbled across something that she shouldn't have. Either way, Malone
could have found it. And when he got too close ...
DETECTIVE SYKES: Oh, come on, Frank, you don't think I can see through your
little song and dance? You're fishing, trying to divert attention away from the
fact that you don't have an alibi for the Adams assault.
FRANK: My alibi is in a coma.
DETECTIVE SYKES: Oh, really? So's my star witness. Which means one of us is
going to be very unhappy if she wakes up.
(SYKES pauses.)
DETECTIVE SYKES: Stay out of my sight before I have you charged with
obstruction.
(SYKES turns and leaves. FRANK watches him leave.)
CUT TO:
[EXT. STREET -- NIGHT]
(FRANK drives around the corner and parks his car. He gets out and walks across
the street.)
CUT TO:
[INT. APARTMENT #9 - NIGHT -- CONTINUOUS]
(FRANK opens the door, peels off the crime scene tape and walks into the
apartment. He closes the door, but doesn't shut it behind him.)
(He stands in the dark room and looks around. He takes out his flashlight and
looks around the apartment. He walks around the bed to look at the large spots
of blood on the carpet.)
(FRANK looks up and around. He feels it.)
(Behind FRANK, a shadow moves across the wall.)
(FRANK turns around and continues to look around the room.)
(He walks into the bathroom and turns on the light. He puts his flashlight down
and walks up to the bathroom mirror. He stares at his reflection and sighs.)
(He leans in close to the mirror and looks intently at his reflection.)
FRANK: Come on ... I know you're in there.
(The lights surge off and on and then off. In the mirror through what little
light there is coming from outside, FRANK sees THOMAS MALONE'S reflection
superimposed over his own. It's a grayish tint reflection of a man staring back
at him.)
WOMAN: (o.s.) Hello?
(Through the reflection in the mirror, a WOMAN walks into the apartment entrance
and opens the door.)
(The reflection is gone.)
(FRANK stares back at the mirror.)
WOMAN: Are you a cop, or do I need to call one?
(FRANK looks at the mirror, turns around and walks out of the bathroom.)
FRANK: I'm a detective, ma'am.
(FRANK walks up to the woman. He reaches into his pocket for some
identification to show her. She brushes it aside.)
WOMAN: Well, don't bother. I wouldn't know if it was real anyway.
(She looks at FRANK.)
WOMAN: Oh, you were here the morning she was taken away. I saw you talking to
the police.
FRANK: Do you know her?
WOMAN: Not really. She'd only been here a few days. Quiet girl; kept to
herself a lot.
FRANK: Well ... guess I should be going.
(FRANK walks past the WOMAN and out the door. She stops him.)
WOMAN: Oh, well, she did have a visitor, though-- a man.
(He turns around.)
WOMAN: He came looking for her here before you did, but she wasn't home.
FRANK: This man, you don't happen to remember what his name was?
WOMAN: Hmm...
FRANK: (prompting) Was it ... Malone? Thomas Malone?
WOMAN: (thinking) Malone ... I don't know. Maybe.
(FRANK takes out the printed article with the photos on it and shows it to her.)
FRANK; Is that him?
WOMAN: I think so. (She really looks at the photo on the bottom of the page.)
Yes, that is definitely him. I never forget a smile.
(She glances sideways at FRANK and smiles. FRANK doesn't smile. He takes the
article from her and looks at the lower photo.)
(In it are two men: THOMAS MALONE and DETECTIVE SYKES. SYKES is smiling.)
(FRANK puts it together and smiles. He looks at the woman gratefully.)
FRANK: Thank you.
WOMAN: What did I do?
FRANK: You just solved a murder.
(FRANK turns and leaves.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. FRANK'S APARTMENT -- NIGHT]
(MARCUS is standing near the table holding the article in his hand. FRANK is in
the next room looking for something.)
MARCUS: Sykes. You sure?
FRANK: Internal Affairs is looking for someone inside the department, right?
What about someone who's right under our noses?
(FRANK finds it and joins MARCUS in the next room.)
MARCUS: But he's the lead detective, Frank. It's his case.
FRANK: What better way to hide from the hunter than to become one?
(The phone rings. FRANK points to it and sits down.)
FRANK: Grab that, will you?
(The sound of bullets clattering onto the table is heard. MARCUS turns around
to get the phone.)
MARCUS: Hello? (pauses) Oh, hey. Yeah, yeah. He's sitting right over here.
You want me ... ? (pauses) Okay. Yeah. I'll tell him.
FRANK: What's wrong?
(MARCUS hangs up. FRANK stands up.)
MARCUS: That was Jessica. She told me to t tell you she found that drug dealer
you were looking for. (beat) He's dead.
(MARCUS moves forward toward FRANK and stops.)
FRANK: Two shots in the back of the head?
(MARCUS nods.)
MARCUS: They found a print at the crime scene. They made a match, and they've
issued warrants.
FRANK: Should I even ask?
MARCUS: It's yours, Frank. They're already on their way. (beat) I'll stall
them for as long as I can.
(FRANK puts his jacket on and steps forward knowing exactly what MARCUS is about
to do could cost him a lot.)
FRANK: Okay. What about you?
MARCUS: (thinking) I'll, I'll tell them when I got here you were already gone.
FRANK: Marcus, I ...
MARCUS: (interrupts) Go, Frank. Do what you got to do. But sooner or later,
you're going to have to stop running and we're going to have to sit down. And
we're going to have to talk ... about everything.
(In the background, the police sirens wail as they get louder.)
MARCUS: No more lies.
(FRANK looks at MARCUS.)
FRANK: Okay.
(He claps his shoulder in thanks, then heads out the door. The door shuts
behind him.)
CUT TO:
[EXT. FRANK'S APARTMENT -- NIGHT]
(Police cars converge and stop in front of FRANK'S apartment.)
(Cops get out of their cars and head into the building.)
(Camera moves around the cars to the side of the street where we see FRANK
crouched behind a parked car watching the officers rush into his building.)
(When the coast's clear, FRANK leaves.)
CUT TO:
[EXT. STREET -- NIGHT]
(JESSICA walks up to her parked car. She opens her car door and puts her
briefcase into the front seat. FRANK walks up to her calling her name.)
FRANK: Jess.
(JESSICA starts in surprise.)
JESSICA: (gasps) Oh, god! Frank, don't do that. Don't ever do that.
FRANK: I'm sorry. It was the only way.
JESSICA: You couldn't call me to meet you somewhere?
(FRANK thinks about it and concedes ... )
FRANK: Okay, there was another way.
JESSICA: Do you know that you're in serious trouble? You couldn't hire a
lawyer and stay away from this?
FRANK: Jess ...
JESSICA: God, sometimes you're so stubborn it drives me crazy.
FRANK: Angela Adams is in danger. I need to know what hospital she's staying
in.
JESSICA: Why? What's going on?
FRANK: The mole that I.A.'s looking for is in their own department. It's
Sykes.
JESSICA: Oh, god.
FRANK: What? What is it?
JESSICA: Angela came out of her coma this morning. Internal Affairs sent
someone to question her.
FRANK: Which hospital, Jess?
JESSICA: County General. Room 203.
FRANK: (nods and grabs her keys) I need to borrow your car.
(FRANK gets into the car, starts the engine and leaves JESSICA standing in the
parking lot.)
JESSICA: (mutters to herself) I guess I'll be taking a cab.
CUT TO:
[INT. COUNTY GENERAL - MAIN FLOOR -- NIGHT]
(FRANK walks down the hallway toward room 203. He finds an empty chair next to
the door. He takes out his gun. He stops and listens.)
(He quickly and quietly opens the door and slips inside.)
[ROOM 203 - NIGHT - CONTINUOUS]
(Inside the room, ANGELA ADAMS is in bed. FRANK walks up to the closed curtain
around the next bed, gun in hand and reaches out to push it aside. He opens the
curtain. The bed is made and empty.)
(He walks up to the bed to check on ANGELA ADAMS. He leans in close to check if
she's breathing. Please note that she doesn't have any nasal cannulas, tubings,
IV's or respirator/ventilator hookups. He leans in close over her to see if
she's still alive.)
(Satisfied that she's still okay, FRANK straightens. He sees the body of a man
crumpled against the dresser in the room.)
(Behind him, the door opens and a man walks in. FRANK'S eyes are still on the
guard and he moves toward the GUARD on the floor. The figure of the man who
just walked into the room rushes quietly and quickly toward FRANK.)
(SYKES grabs FRANK from behind and starts to hit him on his back. ANGELA ADAMS
wakes up and starts screaming.)
(SYKES continues to hit FRANK. ANGELA climbs off of the bed, trying to get away
from them.)
(SYKES grabs FRANK'S neck from behind. FRANK slams him back against the wall.
SYKES groans upon impact and lets go of FRANK. He raises his hand to swing, but
FRANK grabs his arm and pulls him up against the wall.)
(ANGELA ADAMS runs out of the room.)
(FRANK sees her leave. He swings at SYKES. SYKES ducks and FRANK misses. He
follows it up with a punch to FRANK'S gut. FRANK doubles over. SYKES knees him
in the face. FRANK falls to the ground, almost unconscious.)
(It's enough.)
(White flash to: Memory of ANGELA ADAMS on the carpet bleeding. She'd already
been shot. End of flashback.)
(FRANK reels from the beating.)
(White flash to: FRANK reaching down and pulling his bloodied hands away from
ANGELA'S head. End of flashback.)
(FRANK is on the hospital room floor ... remembering.)
(White flash to: While FRANK is leaning over and checking ANGELA, SYKES steps
forward from the shadows in front of the window and hits FRANK unconscious. End
of flashback.)
(FRANK remembers what happened in the apartment.)
(Quick flashback to: [APARTMENT #9] The door opens and FRANK (POSSESSED) walks
into the apartment. He looks around, an unusual silver glint in his eyes.)
(He walks deep enough into the apartment to see ANGELA ADAMS on the floor
unconscious. He walks over to her and kneels down to check on her. His eyes
glint silver. He puts his hands on her head and sees her shot on the back of
the head.)
(He puts her head down and pulls his hands away. They're covered with her
blood.)
(FRANK backs up and gets up. SYKES steps forward and hits FRANK from behind.
He has a hard object in his hand and uses it to knock FRANK out.)
(FRANK falls unconscious onto the bed.)
(SYKES tosses the object aside and looks down at the two of them.)
(End of flashback. Resume to present.)
(FRANK opens his eyes. They're glinting unnaturally.)
(Possessed, FRANK sits up, unnaturally and with little effort. "FRANK" turns
and sees the gun on the floor next to him. He picks it up and checks it.)
CUT TO:
[INT. COUNTY GENERAL - HALLWAY - NIGHT -- CONTINUOUS]
(ANGELA ADAMS limps down the darkened hallway.)
(She reaches the end of the hallway and stops. In front of her is under
construction. She slowly moves forward through this dark area.)
(But SYKES is there waiting for her. He moves forward toward her. She backs
up.)
ANGELA ADAMS: (cries) Why are you doing this?!
DETECTIVE SYKES: I know what happens to cops who go to prison. You never
should have found out about my little secret.
ANGELA ADAMS: (whimpers) I won't tell anyone about the inventory, I swear.
DETECTIVE SYKES: I'd like to believe that, Angela. Really.
(He lifts up his hand and uncovers the syringe he's holding. ANGELA really
starts to panic. She stops backing up. SYKES puts his hand up on the beam
behind her, trapping her there.)
DETECTIVE SYKES: But you went to the cops once.
ANGELA ADAMS: Malone ... you killed him, didn't you?
DETECTIVE SYKES: Malone was a good cop. Too good. If he found you, how long
do you think it would take for him to find me?
FRANK (THOMAS MALONE): Not long, Dick.
(Knowing that he's right there behind him, in one smooth movement, SYKES turns
around and grabs ANGELA around the neck. He holds the syringe up against her
throat.)
(She cries out.)
FRANK (THOMAS MALONE): (calmly) You know I'm good with this thing so don't try
anything stupid.
DETECTIVE SYKES: Don't come any closer, or I swear ...
(FRANK takes a couple of steps closer in disregard to the warning.)
FRANK (THOMAS MALONE): (calmly) Or what? You'll kill her? I don't doubt it.
DETECTIVE SYKES: I said stay back!
FRANK (THOMAS MALONE): And when she's dead, what then? I'll still put a bullet
between your eyes. Face it, Dick, there's no way out of this. No quick fix, no
angles to play.
DETECTIVE SYKES: That's it. I'll do her right here, I mean it.
FRANK (THOMAS MALONE): Your problem is you think she's leverage. She's not.
This is just you and me, Dick.
DETECTIVE SYKES: Why do you keep calling me that? You don't know me.
FRANK (THOMAS MALONE): Yes. I do.
(Camera close up of FRANK'S glinting silver eyes.)
FRANK (THOMAS MALONE): What's wrong? You don't recognize your old pal?
(FRANK chuckles.)
(SYKES looks at FRANK and sees something he recognizes. His grip on ANGELA
ADAMS loosens and she breaks free.)
FRANK (THOMAS MALONE): It's okay, Ms. Adams. You can step away now.
(ANGELA runs out of the area.)
(SYKES falls to his knees in front of THOMAS MALONE, his arms spread wide in
surrender.)
(THOMAS MALONE holds the gun on SYKES.)
DETECTIVE SYKES: Are you going to kill me now?
FRANK (THOMAS MALONE): Don't worry, Dick. It's not as bad as you think.
(But before anything else happens, in a blur, FRANK shakes his head. Something
is happening to FRANK. He shakes his head again ... and again. Finally when he
opens his eyes, the silver glint in them is gone.)
(FRANK opens his eyes and sees SYKES on his knees in front of him.)
FRANK: Get up.
FRANK: Get up!
(SYKES stands up.)
FRANK: It's over, Sykes.
(FRANK grabs SYKES hands behind his back and leads him out of the area.)
CUT TO:
[INT. COUNTRY GENERAL - HALLWAY - NIGHT -- LATER]
(OFFICERS lead a hand-cuffed SYKES down the hallway past MARCUS and FRANK.
ANGELA ADAMS is sitting in a wheelchair in front of them. She looks up at
FRANK.)
ANGELA ADAMS: I don't even know what to say. You saved my life twice.
(He smiles, pleased. They shake hands.)
FRANK: I had some help. You take care, now.
(The nurse wheels ANGELA away.)
MARCUS: Lucky girl.
(FRANK watches her leave and smiles. MARCUS looks at FRANK.)
MARCUS: You're looking chipper.
FRANK: Yeah, I guess I'm just feeling like my old self again.
MARCUS: Oh, you want to fill in the blanks?
FRANK: Sykes had her convinced she was assisting in an Internal Affairs
investigation. By the time she knew any better, it was already too late.
MARCUS: That's why she contacted Malone.
FRANK: I guess she figured, since he was Internal Affairs that he could take
care of it quickly and quietly.
JESSICA: Only Sykes got to him first.
(JESSICA walks down the hallway toward them, a smile on her face.)
(MARCUS eyes her knowingly and makes his exit.)
FRANK: Hey, Jess.
MARCUS: I'll talk to you later.
FRANK: Yeah.
(MARCUS leaves.)
FRANK: Well ...
(FRANK dangles JESSICA'S car keys and gives it to her.)
FRANK: Thanks for the loan. It's still in one piece.
JESSICA: Which is more than I can say for you. Well, you'll be happy to know
you're off the hook with Internal Affairs. I guess they finally figured out
that you're not a cold-blooded killer.
FRANK: What about Angela?
(They turn and head down the hallway toward the entrance.)
JESSICA: We're dropping all charges against her in return for her testimony
against Sykes. So, it's over.
JESSICA ( chuckling ): You caught the bad guy.
FRANK: Yeah, I guess I did.
(They walk out.)
JESSICA: Come on, Frank. Let me take you home. You look exhausted.
(FRANK chuckles. That's an understatement.)
CUT TO:
[EXT./INT. FRANK'S APARTMENT -- NIGHT]
(FRANK is on the bed, curled up on his side, sleeping. Standing in the doorway,
blue, dead and smoking on a cigarette, is SIMON DEAN. He watches FRANK sleep.)
(He takes a moment, then steps forward toward FRANK.)
(SIMON'S shadow moves across the bedroom wall toward FRANK'S sleeping form.)
(On the bedside nightstand is the open prescription bottle and a half a glass of
water.)
(SIMON'S arm enters the camera frame, drops the cigarette into the glass of
water, then withdraws.)
(A puff of cigarette smoke enters the camera frame from the top.)
(The camera moves slowly over toward the bed and FRANK'S sleeping form.)
(FRANK suddenly gets up gasping for breath. He glances over at the pill bottle
and glass of water ... with NO cigarette inside.)
(He puts his head in his hand and exhales sharply. He takes a couple of deep
breaths, turns and looks at the pill bottle.)
(He grabs the pill bottle and heads into the bathroom.)
(Through the reflection in the mirror, we see FRANK walk up to the medicine
cabinet, open it and grab the other prescription bottles off of the shelf.)
(He empties the pill bottles into the toilet. All of them. When he's done, he
flushes the toilet. He walks back to the open medicine cabinet and closes the
mirrored door.)
(He stares into the mirror at his own reflection and swallows,)
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
1X06: NOCTURNE
ORIGINAL AIR DATE ON UPN: 10/29/2002
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
MICHAEL IRBY as Dante
JOHN F. MANN as Simon Dean
Guest Starring
SHAWN CHRISTIAN as Sykes
Guest Starring
ROSE ABDOO
STEPHANIE WING
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: ANDREW COSBY
Directed by: VERN GILLUM
========================
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
MICHAEL MIRANDA as Kiko
DAMON STANDIFER as Security Guard
Featuring
DOC DUHAME as Farraday
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: LYN NORTON
Special Effects Coordinator: ROBERT WILLARD
Production Coordinator: MATT MUSGRAVE
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 FOTOKEM
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:09/05/03~lky
http://www.webphilia.com/~anthology/wnp.html