HAUNTED
1X13: NEXUS
[UNAIRED IN U.S.]
ORIGINAL AIR DATE IN U.K.: 08/22/2003
TRANSCRIBED FROM SKYONE MIX
Teleplay by: RICK RAMAGE
Story by: ANDREW COSBY & RICK RAMAGE
Directed by: MICHAEL RYMER
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist
==========================
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==========================
SUMMARY: At the request of a friend, Frank searches for a missing audio tape
only to discover that the ghost of the dead wife seeks vengeance on those
involved in her murder.
==========================
HAUNTED
1X13: NEXUS [UNAIRED IN U.S.]
==========================
NARRATOR: Previously on "Haunted"
[Scene from 1X01: Pilot]
(FRANK hangs off the side of the rooftop while SIMON DEAN stands above him
looking down at him.)
SIMON DEAN: Simon says, "It's time to die."
(FRANK looks up at SIMON and with a loud yell, he reaches over with his left
hand and grabs SIMON'S arm.)
FRANK TAYLOR: No!
(With unbelievable strength, he pulls SIMON over and off the edge of the
rooftop. SIMON falls to the ground below with a loud thud.)
CUT TO:
[MORGUE]
(Open on the coroner's photo of SIMON DEAN. The photo moves aside to show the
real thing on the table in front of them.)
JIMMY LAMARR (CORONER): The suspect's name is Simon Dean.
(FRANK leans in close to examine the body.)
JIMMY LAMARR (CORONER): (v.o.) He has at least three priors for assault; one
against a minor.
(Suddenly, SIMON'S eyes shoot open. His hand reaches up and grabs FRANK'S
throat, choking him. FRANK fights to get out of SIMON'S grip. SIMON sits up
and continues to choke FRANK.)
SIMON DEAN: Storm's coming, Frank
CUT TO:
[Scene from 1X05: Blind Witness]
[INT. DANTE'S TATTOO PARLOT - DAY]
(DANTE explains his theory to FRANK.)
DANTE: That special talent you brought back from the other side? You glow in
the dark, my friend. Lots of people claim to see ghosts, but very few can claim
to be seen by ghosts.
CUT TO:
[Scene from 1X01: Pilot]
[INT. JESSICA'S RESIDENCE - KITCHEN - NIGHT]
JESSICA: Kevin has been gone for nearly two years.
FRANK: I just want to know.
JESSICA: What, that some twisted psycho murdered our son?
CUT TO:
(FRANK shines the flashlight and finds out that the voice is really SIMON.)
SIMON: You can't save him, Frank. You couldn't even save your own son.
FADE TO
END OF PREVIOUSLY ON
FADE IN.
[INT. FRANK'S RESIDENCE - LIVING ROOM -- NIGHT]
(Open on a light bulb. We see an open bottle of whiskey on the table and
something hitting it.)
(Next, we see a bottle of pills spilled out on the table and one by one bullets
hit the table as FRANK flicks them out of the cartridge with his thumb.)
(Strains of a haunting lullaby start. FRANK stares at the bullets. He picks up
his gun and empties the chamber.)
(He turns to the side and looks at a framed photo of KEVIN on the table nearby.)
(FRANK smiles wistfully at the photo, then his eyes shift and he notes the
figure sitting on the couch on the opposite wall. His smile falls.)
(The lullaby stops.)
(On the couch, SIMON DEAN sits and watches FRANK hold the gun in his hand.)
SIMON DEAN: (urging) Do it, Frank. Do it, Frank.
(The phone rings.)
(SIMON whispers harshly in FRANK'S ear.)
SIMON DEAN: Let it ring.
(The phone rings. The answering machine picks it up and beeps.)
DANTE: (over answering machine) Frank, Dante. More than that, listen. I'm
sorry I called you at such an ungodly hour, but it's important. You know that
pretty little package you've been looking for? I think I found it. (pause)
Listen man, I'll be at Riviera and Fort street in an hour. (pause) Peace.
(FRANK stands up and walks over to the answering machine. It beeps when the
message is complete.)
(FRANK turns and walks over to the bulletin board where he removes a photo of
YOUNG WOMAN - possibly the person he's looking for. He takes the photo down,
looking at it as he turns around.)
(Sitting back on the couch smoking a special cigarette is SIMON DEAN.)
SIMON DEAN: She's nothing to you, Frank. She's a whore. I'll get you back to
the corridor. I'll show you Kevin.
(SIMON laughs.)
FRANK: Liar.
(FRANK aims and fires.)
(He hits the cushion. SIMON'S laughter echoes in the dark apartment.)
(FRANK'S shoulders slump. He turns around, puts the gun on the desk and walks
over to the chair. He sits down.)
FADE OUT 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.
[EXT. STREET CORNER -- DAY]
(Standing on the sidewalk, DANTE recites.)
DANTE: (reciting) He was counting countless pennies inside of a shaking hand
was it the chilly winter, I thought well that the poison in his veins that has
turned this home of love into a house of pain ...
(FRANK walks up the sidewalk a distance from DANTE.)
DANTE: (reciting) ... and the mountains of steel that used to shave the guiding
light. New York City's steel beams like the land forever night walking in those
shoes ...
(Without breaking his rhythm, DANTE dramatically points to the woman talking to
the man in the business suit. FRANK turns and sees her.)
DANTE: (reciting) ... is an open wound to heal Tell me. Do you know? How it
feels? Wishing with passion to get back the day and everybody wanting to play
the game the ones that got left out? ...
(FRANK sees the woman and the man head into the building. He turns to DANTE who
nods at him.)
DANTE: (reciting) ... Well, they needed somebody to blame ... oooh, how things
are changing ...
CUT TO:
[INT. BUILDING - HALLWAY / ROOM -- DAY]
(FRANK kicks the door in. SUE SOWERS gasps. The MAN falls out of bed.)
SUE SOWERS: Hey!
MAN: Don't!
(FRANK points at SUE SOWERS.)
FRANK TAYLOR: You shut up!
(He turns to look at the man on the floor.)
FRANK TAYLOR: ... and you, you chill out!
(He tucks the paper in his jacket pocket.)
FRANK TAYLOR: She's sixteen.
SUE SOWERS: Seventeen.
MAN: Well, she looks eighteen to me.
(FRANK grabs the MAN'S clothes and tosses them out the window.)
FRANK TAYLOR: You're missing the point.
(The MAN gets to his feet.)
MAN: You're a fricking ... --!
CUT TO:
[EXT. SIDEWALK - DAY -- CONTINUOUS]
(DANTE turns as he recites and sees the clothes fall out of the window down to
the sidewalk below.)
DANTE: (reciting)
How quick we forget the Indian and the Slave.
Your land is my land and my land is your land
(DANTE smiles.)
CUT TO:
[INT. BUILDING - ROOM -- DAY]
(The MAN, wearing only his underwear, stands in front of the doorway.)
MAN: Well, what about my wallet?
(FRANK holds it up having no intention of giving it to him.)
FRANK TAYLOR: Well, you can pick it up at the police precinct. Ask for
Detective Bradshaw.
(The MAN grimaces, turns and leaves the room.)
(FRANK steps forward and closes the door and turns to SUE SOWERS still sitting
in bed.)
SUE SOWERS: You're not a cop.
FRANK TAYLOR: Just relax. Sue. You are Sue Sowers, right?
SUE SOWERS: What's it to you?
FRANK TAYLOR: To me? Nothing. But it means an awful lot to your mother.
SUE SOWERS: I'm not going back there. I'm never going back.
FRANK TAYLOR: Even if he's not there anymore? Your father's dead. He died six
months ago. Your mother's says that it's safe for you to come home now. She
needs you to come home.
SUE SOWERS: I can't go home. There's no way. I couldn't face anyone.
FRANK TAYLOR: Listen. I was hired to find you and to deliver a message and
that's what I've done. The rest is between you and me.
(He opens his wallet and takes out a lot of bills. He gives them to her,
putting them on the bed. He turns and heads for the door.)
SUE SOWERS: Mister?
(FRANK pauses and turns around.)
SUE SOWERS: Thank you.
(FRANK nods and leaves.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. BLACKHAWKS - DAY]
(FRANK parks his car, gets out and heads for the bar.)
[INT. BLACKHAWKS -- DAY]
(FRANK sits alone in the booth. RAY and ANNA watch him put his head down on the
table.)
ANNA: Look at him. Poor thing. He works too hard.
RAY: If you ask me, he hasn't been the same since he got out of the hospital.
ANNA: Yeah. He just needs the rest, that's all.
(FRANK has his forehead resting against his arms on the table. His cell phone
starts to ring.)
ANNA: It's only been a couple weeks.
RAY: Yeah.
(RAY walks around the bar and heads for FRANK.)
RAY: Frank! Wake up!
SIMON DEAN: Frank!
(FRANK jolts awake and stares at SIMON sitting across the table from him. SIMON
reaches out and grabs ahold of FRANK'S chin, holding his face up toward him.)
SIMON DEAN: I didn't say you could sleep.
(SIMON moves to grab FRANK, but FRANK is quicker. He grabs ahold of SIMON'S
wrist...
... Only to find himself holding RAY's wrist.)
RAY: Your cell phone. It's been ringing and ringing. It's important, yeah?
(FRANK puts a steadying hand to his forehead.)
FRANK TAYLOR: Thanks, Ray.
RAY: Yeah.
FRANK TAYLOR: Taylor.
ERYN TOWNE: (from phone) Frank?
FRANK TAYLOR: Yeah.
ERYN TOWNE: (from phone) It's Eryn. Eryn Towne.
FRANK TAYLOR: What's the matter Eryn?
INTERCUT WITH:
[INT. OFFICE - DAY]
(ERYN paces the floor as she stands in the middle of her ransacked office.)
ERYN TOWNE: I've been trying to reach you all morning. Um. I think I'm in
trouble. Real trouble.
CUT TO:
[INT. HALLWAY -- DAY]
(FRANK walks down the hallway toward ERYN TOWNE'S office.)
[INT. ERYN TOWNE'S OFFICE - DAY - CONTINUOUS]
FRANK TAYLOR: You sounded pretty upset on the phone.
ERYN TOWNE: I am. As you can see, I'm not exactly popular with somebody right
now. Please, sit.
(FRANK turns a chair upright. They both sit down.)
ERYN TOWNE: Someone's been following me. I think they've been in my house,
too. And today, this.
FRANK TAYLOR: What did the police say?
ERYN TOWNE: I called you. Not the police.
FRANK TAYLOR: Why not? You practically work for them.
ERYN TOWNE: It's complicated.
(She stands up and shows FRANK the recording device on her desk.)
FRANK TAYLOR: You record your sessions?
ERYN TOWNE: For reference purposes only.
FRANK TAYLOR: Do your patients know?
ERYN TOWNE: In most cases, it would inhibit the session.
FRANK TAYLOR: No doubt, but what about the department? Or the Union? Do they
know?
ERYN TOWNE: Only Internal Affairs knows about it. I'm not a spy for the
department, Frank. I work with cops because they're good people doing a hell of
a tough job.
FRANK TAYLOR: So, how's it work?
(She unlocks and opens a closet space and shows FRANK the tapes.)
ERYN TOWNE: These are the taped sessions. They're coded for privacy.
(FRANK sighs.)
FRANK TAYLOR: Who was patient 121?
ERYN TOWNE: His name is Peter Braddock. He's vice detective.
FRANK TAYLOR: What's he in therapy for?
ERYN TOWNE: He's not. I'm not seeing him anymore. I can't get into the
particulars of his case, but he used excessive force on the job twice. The
department put him on paid leave pending an evaluation.
FRANK TAYLOR: Well, the obvious question is what's on the tape that Detective
Braddock doesn't want anyone to hear other than his shrink?
ERYN TOWNE: I'm afraid that that falls under the heading of Patient
Confidentiality.
FRANK TAYLOR: You just want the tape back. No questions asked.
CUT TO:
[EXT. BUILDING -- DAY]
(FRANK and ERYN walk outside.)
ERYN TOWNE: Will you help me frank?
FRANK TAYLOR: I have to be honest with you, Eryn. I don't like the fact that
you've been taping people.
ERYN TOWNE: I knew you wouldn't. And believe me, I wish I didn't have to ask.
FRANK TAYLOR: What concerns me even more is that you think someone may be after
you.
ERYN TOWNE: That's why I called you. There's no one else I could turn to.
FRANK TAYLOR: Okay. I'll see what I can do. Do you need a place to stay till
we settle this?
ERYN TOWNE: No, I'll be fine. I'll be extra careful. Thanks.
(FRANK turns and leaves.)
CUT TO:
[EXT. BLACKHAWKS' BAR - DAY]
[INT. FRANK'S RESIDENCE -- DAY]
(FRANK works at his desk. He runs a computer search.)
(He picks up the phone and calls MARCUS.)
INTERCUT WITH:
[EXT. - DAY]
(MARCUS' phone rings and he answers it.)
MARCUS BRADSHAW: This is Marcus here.
FRANK TAYLOR: Hey, listen. I need your access code to Personnel.
MARCUS BRADSHAW: Huh. You mean the one that only people who work for the LAPD
is supposed to have?
FRANK TAYLOR: Yeah. That one.
MARCUS BRADSHAW: Hmm. Brass-R-M-3-4-9.
FRANK TAYLOR: What's the 349 stand for?
MARCUS BRADSHAW: That's my extension.
FRANK TAYLOR: Brilliant security code. Aren't you going to ask why I need it?
MARCUS BRADSHAW: Would it matter?
FRANK TAYLOR: (laughs) No. Later.
(FRANK hangs up. He logs into the system. The computer beeps with the
following results:
PETER BRADDOCK
Detective Sergeant
Date of Birth: 2/8/1956
SSN: 542-56-04545
Address: 3918 Parma Ave.
Los Angeles CA 90027
Telephone:
Home 562 555 0198
Cell: 213 555 0123
Office: 213 555 0137
Mother's Maiden Name: Spencer
(Cut to: FRANK is on the phone.)
FRANK TAYLOR: My name is Peter Braddock and I recently lost most of my records
in a move. And I was wondering if I could get copies of my statements for the
past six months faxed to me? E-mail. Great. Yeah.
(FRANK goes on line and access the billing information.)
(Cut to: FRANK dials.)
ERYN TOWNE: (answering machine) Hi. This is Eryn Towne, please leave your
name and number and I'll call you back.
(SIMON DEAN appears behind FRANK, startling him. FRANK turns around and sees
him smoking a special cigarette.)
SIMON DEAN: I have to admit. I do miss the good things in life, Frank.
(He picks up the framed photo of KEVIN from the table.)
SIMON DEAN: Would you miss?
(Not giving SIMON the pleasure of getting to him, FRANK gets up. He closes the
file folder, picks it up, gets his jacket and leaves.)
CUT TO:
[EXT. BUILDING -- DAY]
(FRANK watches as PETER BRADDOCK gets into his car and drives away. FRANK
starts his car and follows him.)
CUT TO:
[INT. FIRING RANGE -- DAY]
(PETER BRADDOCK gets the bullet supplies from the registrar behind the counter.)
TOMMY: Here you go, Detective Braddock.
PETER BRADDOCK: Hey, Tommy. Hey, Thanks a lot.
TOMMY: Tom, number 11's open.
PETER BRADDOCK: Hey, thanks.
(PETER BRADDOCK leaves for the range and FRANK walks into the building.)
FRANK TAYLOR: Hey, Tommy.
TOMMY: Frank. How's number 16 for you?
(FRANK looks at the empty slots on the paper.)
FRANK TAYLOR: Uh, how about number 13 instead?
TOMMY: Okay.
CUT TO:
[EXT. FIRING RANGE - DAY -CONTINUOUS]
(FRANK walks out onto the range and heads for his stall several stalls past
PETER BRADDOCK'S. He puts his protective eye wear on and watches as PETER
BRADDOCK reloads his cartridge.)
(FRANK takes out his weapon and starts shooting.)
(PETER BRADDOCK starts shooting. He fires two shots, then on the third, his gun
backfires. PETER BRADDOCK falls backward.)
(FRANK takes off his eye wear and walks over to PETER. He flips him over to
show the burn marks on PETER'S face.)
(Feeling someone watching, FRANK looks up and sees a woman dressed in black
looking down at them. As he looks at her, she disappears.)
CUT TO:
[INT. HALLWAY TO ERYN TOWNE'S OFFICE -- DAY]
(FRANK walks down the hallway.)
[INT. ERYN TOWNE'S OFFICE - DAY - CONTINUOUS]
(ERYN is reading a file when the door opens startling her. FRANK walks into the
office.)
ERYN TOWNE: Oh, god. Oh! You scared me. What's wrong?
FRANK TAYLOR: (sighs) Peter Braddock is dead.
ERYN TOWNE: How?
FRANK TAYLOR: He was at the shooting range and his gun misfired.
ERYN TOWNE: Misfired?
FRANK TAYLOR: They're treating it as an accident.
(ERYN sits down.)
FRANK TAYLOR: And I think its time that you and I had another talk. For the
past six months, your home phone number has been all over Peter Braddock's
statements - late nights, holidays, weekends, all hours. And the tears don't
lie. There was something going on between the two of you. (She nods.) How
long?
ERYN TOWNE: (crying) I was sleeping with one of my patients for ages. Does it
matter?
FRANK TAYLOR: And the tape proved it.
ERYN TOWNE: I tried to break it off, but it didn't go well.
FRANK TAYLOR: So he took the tape to get back at you.
ERYN TOWNE: I'm sorry I didn't tell you. Will you still help me?
FRANK TAYLOR: Do I know everything?
ERYN TOWNE: Everything.
FRANK TAYLOR: Did you spend a lot of time in this house?
CUT TO:
[INT. BRADDOCK'S RESIDENCE -- NIGHT]
(FRANK and ERYN step into the house.)
FRANK: So Braddock didn't change his code when he asked for your key back.
(He looks around at the place.)
FRANK: Not bad, for a cop.
ERYN TOWNE: His wife had money. He's trying to sell the house.
FRANK: Did he have an office?
ERYN TOWNE: Upstairs.
FRANK: Okay, let's go, but don't turn on any lights.
ERYN TOWNE: Right.
(They head upstairs.)
FRANK: Braddock took the tape, we'll find it.
(They reach the second floor and hear a noise coming from downstairs. ERYN
gasps. FRANK pulls ERYN aside and places her in a dark corner.)
FRANK: Stay right here.
(He takes out his weapon and heads back downstairs.)
(FRANK looks around. He looks at the desk and sees framed photos of PETER and a
dark-haired woman. The clock on the desk reads 10:35. He also sees a framed
photo of the dark-haired woman. FRANK picks it up.)
FRANK: Wait a minute.
(He looks at all the photos on the desk and it's of PETER with the same woman.)
(He looks up and sees the WOMAN standing in front of him. Startled, he raises
his gun and shines the flashlight on her.)
ERYN TOWNE: (o.s.) Frank, are you okay?
(FRANK looks away for a moment, then turns back.)
(The woman is gone.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. BLACKHAWK'S -- NIGHT]
[INT. FRANK'S RESIDENCE -- NIGHT
(FRANK and ERYN stand in his bedroom.)
FRANK: Don't worry. I'll just sleep out on the couch.
(He gives her a shirt.)
ERYN TOWNE: Thanks for letting me take you up on your offer.
FRANK: You sure you going to be okay?
ERYN TOWNE: Yeah.
FRANK: Sleep well.
ERYN TOWNE: You, too.
(FRANK turns and walks out of the bedroom.)
[LIVING ROOM]
(FRANK pushes aside the cushion and sits down on the couch. He puts his head in
his hands and takes an exhausted breath. He leans back, resting his head back
against the back rest.)
(Everything is silent in the apartment.)
(FRANK rests quietly on the couch.)
(Cut to: The front door. A dark figure moves on the other side of the closed
door.)
(Cut to: ERYN is sleeping in bed.)
(Her eyes suddenly open. She slowly gets up and out of bed. She heads for the
bathroom mirror. She looks at her reflection. Standing behind her is the WOMAN
IN BLACK.)
(ERYN walks out of the bedroom and across the hallway. She stands near the
doorway and watches FRANK sleeping on the couch. She turns and picks up
something.)
(Cut to: FRANK sleeps on the couch. The front door slams shut and he wakes
up.)
(From the other room, he can hear some strange sounds. Unsure of what it is or
what's going on, he heads into the bedroom and finds ERYN dangling from the
ceiling fan from a tie tied around her neck.)
FRANK TAYLOR: Eryn.
(He carries her up and gets her down. ERYN coughs and chokes. He puts her down
on the bed and loosens the tie around her neck.)
(Cut to: The front door. We see the dark figure walking away from the door.)
CUT TO:
[INT. FRANK'S APARTMENT -- DAY]
(It's 8:32. ERYN walks out and into FRANK'S office. He's up and at his desk.)
FRANK: How you feeling?
ERYN TOWNE: I'll live. Thanks to you.
FRANK: You remember anything from last night?
ERYN TOWNE: If one of my patients tried to hang himself in his sleep. I'd have
him under observation so fast, it'd make his head spin.
FRANK TAYLOR: It's going to be okay.
ERYN TOWNE: You look like you've been up all night. What are you working on?
FRANK: It's Claudia Braddock's obituary from The Chronicle.
(He shows her the obituary and photo.)
FRANK: Did you know that she died in an accident?
ERYN TOWNE: Yes. Yeah. She was a dance choreographer. Peter told me that a
spotlight backstage had a short and it hit her. She was electrocuted. It was
horrible. She died instantly.
FRANK: Friend of mine from LAPD e-mailed me this. It's a copy of the
ballistics report on Peter Braddock's gun. The bullet wasn't defective and
neither was the gun. The round was charged with an explosive compound.
(She looks at the report.)
ERYN TOWNE: What are you saying.
FRANK TAYLOR: Braddock's death was meant to look like an accident, but it
wasn't. He was murdered.
CUT TO:
[INT. POLICE DEPARTMENT -- DAY]
(MARCUS and FRANK walk through the hallway.)
MARCUS: I played your hunch about Braddock's dual .45. He was the only one in
this department who carried one.
FRANK: Got time for another hunch?
MARCUS: Hit me.
FRANK: Couple years back, there was some serious talk on the street about a guy
whose specialty was arranging accidents for people.
MARCUS: Yeah, I remember this guy. But as I recall, there wasn't much to it.
People kinda blew it off as an urban legend.
FRANK: Special Units doesn't investigate urban legends, Marcus.
MARCUS: You telling me there was an active investigation?
FRANK: I don't know if it was "active". I just know that it was called the
A.M. project.
MARCUS: A.M.?
FRANK: "Accident Man".
(They run a search on the "A.M." PROJECT. Computer results read:
CONFIDENTIAL
Direct all inquiries to Detective Peter Braddock
FRANK TAYLOR: Peter Braddock. That's it.
CUT TO:
[EXT. BLACKHAWK'S - DAY]
[INT. BLACKHAWK'S -- DAY]
(FRANK sits in his book sipping from a cup.)
SIMON: Did you know that your friend is going to die, Frank?
(SIMON sits across from FRANK. He takes a smoke of his cigarette and nods.)
SIMON: Oh, yeah? There she is. Definitely going to die.
(FRANK takes out his phone and dials.)
ERYN TOWNE: (over phone) Eryn Towne.
FRANK: Eryn. You okay?
INTERCUT WITH:
[ERYN'S OFFICE]
ERYN TOWNE: I'm fine, Frank. I don't' know what happened to me last night, but
I'm not suicidal and I won't be alone - been seeing patients all day long.
FRANK: I'll pick you up at seven, then you're staying at my place again. No
arguments.
ERYN TOWNE: Frank, I know I hired you as a P.I., but I want to thank you for
being my friend, too. Bye.
(FRANK tucks his phone away and stares at the empty spot where SIMON used to be.
DANTE walks up to him and smiles.)
DANTE: You look like crap, man.
(FRANK laughs.)
DANTE: Yo, brother. What is it?
FRANK: Whoah. I'm trying to concentrate on this case, but, uh, Simon's making
it difficult.
DANTE: He's back?
FRANK: Not sure he ever left. I do know one thing. He's getting into my head.
How do you kill a ghost?
(He laughs at his own question.)
DANTE: (serious) You vanquish him.
FRANK: We are talking about the same thing, aren't we?
DANTE: No. Death. As most people know it means an end to life, but you know
better Frank. Look, when you cross that Nexus plane and came back, you were
given a new talent, an understanding. Now it's up to you to decide whether that
gift is a blessing or a curse, man. If Simon has his way -
FRANK: Simon is not going to have his way.
DANTE: All right. Then to beat him, you have to destroy his will to fight.
FRANK: That's what he's trying to do to me, isn't it? Wear me down. Break me.
DANTE: He seems to come around when you're most vulnerable. Look, they say to
defeat your enemy, you have to know him better than he knows himself.
FRANK: I don't know anything about him. He's a mystery.
DANTE: You solve the mystery, you're on your way to solving the problem. Even
a ghost can make mistakes, man.
(FRANK nods and considers the possibilities.)
CUT TO:
[EXT. BLACKHAWK - NIGHT]
[INT. FRANK'S APARTMENT -- NIGHT]
(The place is empty.)
(Camera close up of an electrical wire in some water.)
(The door unlocks and FRANK walks into his apartment. He shuts the door and
heads into his office.)
(He walks across the office and notices that the floor is wet.)
(He reaches for the light switch. It shorts and shocks FRANK.)
(SANCHEZ, a man very much alive and real, opens the door and checks on his booby
trap.)
(FRANK grunts on the floor.)
(He pulls the wire down from the ceiling. He picks FRANK up and props him up
against the cabinet.)
FRANK: So you're not an urban legend after all.
SANCHEZ: Boo.
FRANK: Let me guess. Peter Braddock asked you to arrange that little accident
that his wife had backstage.
SANCHEZ: Love does funny things to a man, Frank. Psychologically speaking.
FRANK: He killed her to be with Eryn Towne.
SANCHEZ: I suggested a divorce.
FRANK: (fills in the motive) But he wanted her money. Why'd you kill Peter?
SANCHEZ: Because I arrange accidents, Frank. Besides, that idiot Braddock
confessed to everything on tape. You should worry less about me and more about
your pretty friend, the shrink. She's going to spend a little quality time with
me until you hand over the tape.
FRANK: (smiles) Like I'm going to keep it here.
(SANCHEZ holds the gun against his neck.)
SANCHEZ: Get it. Bring it to the rail yard in one hour.
(SANCHEZ gets up and walks out.)
FRANK: What about Eryn?
SANCHEZ: She'll be there.
(The door closes behind him. FRANK gets to his feet.)
(He turns around and sees CLAUDIA BRADDOCK standing in his office. She turns
around and walks toward the wall. FRANK follows her.)
FRANK: You did all of this, didn't you?
(FRANK watches as CLAUDIA BRADDOCK lifts up her hand and points to the stack of
CDs. The top most CD slips off and falls to the floor.)
FRANK: The tape. It wasn't stolen. You've hidden it.
(Camera holds on FRANK.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. ERYN TOWNE'S OFFICE -- NIGHT]
(FRANK walks into the office. He heads straight for the tape cabinet, opens it
and starts looking for the tape. He pulls out all the tapes from the shelf and
tosses them to the floor and finds a single disk hidden in back behind
everything.)
(He sticks it in the player to make sure.)
PETER BRADDOCK: (recording) Eryn, you're hysterical. You've got to calm down.
CUT TO:
[EXT. RAILYARD -- NIGHT]
(FRANK arrives at the railyard. He parks his car. He gets out and looks
around.)
(The rail way crossing light alarm rings and lights flash as the guard comes
down.)
(FRANK watches as the train approaches, its horn blaring. He walks along the
rail road track looking around.)
(FRANK turns and sees CLAUDIA BRADDOCK standing on the other side of the train.
She glares at him. Next he look, FRANK sees SANCHEZ standing there.)
(The train passes.)
(SANCHEZ lifts his gun. FRANK lifts his gun also.)
SANCHEZ: I hope for your sake, Frank, you brought me something.
FRANK: It's not on me -- and not till I see Eryn.
SANCHEZ: Drop your piece.
(FRANK puts his gun down. He reaches into his pocket and takes out the tape.)
(They both walk alongside the railroad track.)
SANCHEZ: Right in here.
(He motions into the railway car. FRANK climbs up the car and sees ERYN tied up
and gagged inside.)
SANCHEZ: Satisfied?
(FRANK puts his flashlight down. SANCHEZ cocks his gun.)
SANCHEZ: The Tape.
(FRANK reaches into his pocket and takes out the tape. SANCHEZ holds out his
hand. FRANK steps forward and knocks the gun out of SANCHEZ' hand. The two
scuffle. )
(FRANK smashes SANCHEZ'S head against the pipes, temporarily disorienting him.
FRANK turns around to ERYN.)
FRANK: Eryn! Get out!
(ERYN gets to her feet and jumps out of the car while FRANK and SANCHEZ continue
to fight.)
(FRANK turns and sees CLAUDIA BRADDOCK turning a lever. There's a heavy
electrical humming in the air.)
(SANCHEZ gets back on his feet and they continue to fight.)
(As they fight, CLAUDIA BRADDOCK hooks up the car to the electrical power
source.)
(FRANK turns and looks straight at CLAUDIA BRADDOCK.)
(He grabs the tape and jumps out of the car just as she flicks the switch on.
SANCHEZ gets to his feet and is caught and electrocuted.)
(FRANK pushes ERYN off to safety where he unties her. She leans on FRANK as she
coughs. FRANK wraps an arm around her and leads her to the car.)
(He closes the car door.)
FRANK: You okay?
ERYN TOWNE: Yes. I'm just glad it's over.
FRANK: Eryn, it's not over. And you know it.
(He reaches into his coat and takes out the tape. He slips it into the player.)
PETER BRADDOCK: (recording) The man's name is Sanchez.
ERYN TOWNE: How do you know a hired killer?
PETER BRADDOCK: It's not important. What you have to know is that I had him
deal with Claude for us.
FRANK: You knew that Braddock had his wife killed and you didn't turn him in.
Why?
(She stops the tape.)
ERYN TOWNE: Because I was scared. I didn't know what to do. I tried to break
it off, but Peter wouldn't let me.
FRANK: Until you told him about the tape.
ERYN TOWNE: I thought, then he'd leave me alone. But he didn't. I guess
that's when he went to Sanchez.
FRANK: Well, it's time to set all those things straight, Eryn. You have to go
talk to the police.
(FRANK starts the car and it stalls. He pops the hood and gets out to check it.
ERYN moves into the driver's seat and starts the car.)
FRANK: Eryn, what are you doing?
(He knocks on the window.)
FRANK: Unlock the door, Eryn. Eryn, what are you doing? Unlock the door.
(ERYN's crying and shaking her head.)
ERYN TOWNE: (panicking) Just give me a head start. Please? They are both
dead. And I-I didn't hurt anybody on purpose. No one is ever going to know!
FRANK: You'll know, Eryn. You'll know. You can still make this right. I'll
help you!
ERYN TOWNE: I can't go to jail! I can't!
FRANK: Eryn! Unlock the door!
(ERYN starts the car and takes off leaving FRANK standing there in the rain
yard.)
(He turns and sees the training coming, its horn blaring a warning to those in
its way.)
(He turns and sees ERYN'S car rolling silently onto the track as its engine
dies. ERYN turns the key, but the car won't start.)
(The rail guard alarm bell blares, its wooden guard goes down. FRANK sees this
and is alarmed that ERYN should be stuck on the tracks. He heads for her.
(In the light, the silhouette of CLAUDIA BRADDOCK walks slowly toward them.
She's not done yet.)
(FRANK reaches the car.)
FRANK: You've got to get out of the car. Unlock the door! (She struggles with
the handle.) Get out of the car, Eryn!
(It's stuck. They both pull and tug at the handle, but it won't budge.)
ERYN TOWNE: I-I-
FRANK: Get out of the car!
ERYN TOWNE: It's stuck!
FRANK: Unlock the door!
ERYN TOWNE: I can't!
(They pound the door, trying to get the door open. The train enters the rail
yard ever drawing nearer to them.)
ERYN TOWNE: I can't!
FRANK: Pull on the handle!
ERYN TOWNE: I can't!
(The train horn blares.)
FRANK: You've got to get out of the car! Get out of the car! Unlock the door!
ERYN TOWNE: I can't!
FRANK: You've got to get out of the car!
(The train horn blares. ERYN turns and we see CLAUDIA BRADDOCK'S reflection in
the rear view mirror sitting in the back seat of the car waiting for the
inevitable to happen.)
(The train is upon them. FRANK turns, sees the train lights, and runs off the
tracks.)
(The train hits the car. The car explodes as its dragged along the tracks by
the train. FRANK stands there watching.)
CUT TO:
[INT. HALLWAY OUTSIDE FRANK'S RESIDENCE -- MORNING]
(FRANK walks up to his door and finds a note taped to it. He unlocks the door
and walks inside.)
[INT. FRANK'S RESIDENCE - MORNING - CONTINUOUS]
(FRANK walks into the office. The door closes behind him. He looks up from the
note in his hand and finds SIMON DEAN sitting in his chair behind his desk
smoking his cigarette. FRANK doesn't flinch.)
SIMON DEAN: I told you she was going to die, Frank.
FRANK: (smug) You know that pretty little package that saved my life the other
morning? She's home. Safe and sound thanks to you.
(FRANK tosses the note and the photo of SUE SOWERS on the table. She's smiling
and happily at home.)
SIMON DEAN: (leans forward) Thanks to me?
FRANK: Thanks to you, I was awake to get the message.
(FRANK reaches out and picks up one of SIMON'S cigarette butts.)
FRANK: Muriad. Turkish. I looked into these. Two buck a light. There's only
five dealers in the city that carry these. You think that one of those dealers
will remember you, Simon?
(SIMON'S not smiling anymore as what FRANK is suggesting seeps into him. FRANK
cracks a grin and laughs.)
FRANK: Yeah. I think so, too.
(He puts the cigarette butt down. SIMON glares at FRANK.)
SIMON DEAN: (yells) No!
(He pushes backward and disappears tipping over the chair in the process. It
hits the floor with a thud.)
(FRANK stands in front of the desk for a moment staring at the chair. He walks
over to the couch and takes off his coat.)
(Cue in lullaby music.)
(FRANK lies down on the couch.)
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
1X13: NEXUS
[UNAIRED IN U.S.]
ORIGINAL AIR DATE IN U.K.: 08/22/2003
TRANSCRIBED FROM SKYONE MIX
Starring
MATTHEW FOX as Frank Taylor
RUSSELL HORNSBY as Marcus Bradshaw
Created by: ANDREW COSBY & RICK RAMAGE
Also starring:
JOHN F. MANN
MICHAEL IRBY
Guest Starring:
MILI AVITAL
BENJAMIN BENITEZ
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
Teleplay by: RICK RAMAGE
Story by: ANDREW COSBY & RICK RAMAGE
Directed by: MICHAEL RYMER
========================
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
MARIA ARCE as Sue Sowers
RICHARD WHARTON as Ray
BREE MICHAEL WARNER as Anna
Co-Starring
P.J. BYRNE as The John
IVAN SHAW as Tommy
SCOTT A. DeFOE as (Peter) Braddock
GINA HUGO as Claudia Braddock
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 / BENGT JONSSON / 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: 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 / TOM DeMAURI
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 / CHRIS KELISHES /
CARLETON DANIELS / KRIS GRIMMINGER / KENNETH MOK
Post Production Video Services Provided by THE POST GROUP
Post Production Sound by ECHO SOUND SERVICES, INC.
Film Processing Provided by C.F.I.
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:02/15/2004~lky
http://www.webphilia.com/~anthology/wnp.html