[BLACK SCREEN]
THE FOLLOWING STORY IS FICTIONAL AND DOES NOT DEPICT ANY ACTUAL PERSON OR EVENT.
CUE SONG:
"Only the Young", Journey
COLD OPEN.
[EXT. CONVENIENCE STORE (STOCK) - (1985) -- NIGHT]
[INT. CONVENIENCE STORE (1985) - NIGHT]
DATE STAMP: NOVEMBER 2, 1985
(Janet Lambert is working while her daughter, Susan Lambert, is bored. She sits
at the counter looking at her hamster in a circular cage.)
SUSAN LAMBERT: Mom, there's nothing to do here.
JANET LAMBERT: Well, you can help me take out this trash.
SUSAN LAMBERT: (sighs) That's not fun.
JANET LAMBERT: Well, then play with Hammy for god's sakes.
(Janet glances out the window.)
SUSAN LAMBERT: Why do you keep looking out the window? Daddy isn't coming.
JANET LAMBERT: If he does, you remember what I told you? You hide behind the
counter. You hear me, Susan?
(Susan ignores her. Janet steps out from behind the counter with a trash bag.
She puts it near the back door. Susan carries her hamster cage and walks around
the counter toward her mom.)
SUSAN LAMBERT: I want to go home.
JANET LAMBERT: Well, we're not going home.
SUSAN LAMBERT: Where are we gonna sleep? What about my clothes and my bookbag?
My stuff?
JANET LAMBERT: We'll buy new things.
(Janet picks up the trash bag and heads out the back to throw it out. Susan
stops her. Janet turns to look at Susan and we see that Janet is sporting a
black eye.)
SUSAN LAMBERT: You can't barely buy anything.
(Janet turns back and walks over to Susan.)
JANET LAMBERT: We're gonna be okay. You might not believe it right now, but
it's true.
(Susan looks away. She doesn't believe her mom.)
JANET LAMBERT: Hey. I love you, little girl.
(Susan doesn't look at her mom. Janet smiles at Susan. She turns and heads out
the back door to throw the trash away.)
SMASH CUT TO:
[EXT. WOODS - (1985) - NIGHT]
(A woman screams.)
(A woman runs down the hill, trips and falls to her hands and knees. She gets
up and continues running. She's in her underwear.)
(Behind her, a man with a hunting r*fle casually walks down the hill behind
her.)
(The woman glances behind her and keeps running.)
(Various cuts of: The woman running and the man with the r*fle following her.)
(He catches up with her and fires. The woman continues to run. Tired and
exhausted she continues to move on her feet. The man with the r*fle is nearly
upon her.)
(He continues to track her until she falls to her knees and can't run anymore.)
JANET LAMBERT: No. Please, don't. Please ...
[HUNTER'S POV]
(Through his night-vision goggles, the hunter looks at Janet Lambert as she begs
for her life.)
JANET LAMBER: Pleas--
[CU: r*fle MUZZLE]
(The g*n fires.)
WHITE FLASH TO:
[CU: MISSING PERSON'S FILE]
(Someone fills out a MISSING PERSON'S file marker for:
LAMBERT, JANET NOV 1985
(The file marker is filed away. The cabinet drawer is closed.)
FADE OUT.
FADE IN.
[EXT. WOODS - DAY - PRESENT]
(Lilly and Scotty walk across the grounds toward the burial site. Around them,
various personnel and officers scour the place.)
LILLY: Her body was found by hikers. A dog dug it up.
VALENS: Good place to dump a body, this preserve.
LILLY: Yeah, nothing but woods for miles. Only witnesses are the birds and the
bees.
(They both stop at the edge of the roadside and look down. Below them is the
grave. In the grave is a decomposed body.)
LILLY: We get an ID yet, boss?
(Stillman walks over toward them.)
STILLMAN: From a medic alert bracelet. Janet Lambert. White female, 31 years
of age. Reported missing in '85.
(Scotty and Lilly both step down closer to the grave.)
VALENS: (reading the file) Disappeared from her place of work. Last to see
was her eleven-year-old daughter.
STILLMAN: Mom goes out with the trash. Never comes back.
LILLY: Poor kid.
(Stillman holds out a container with a b*llet inside and hands it to Lilly.)
STILLMAN: From her chest cavity. Shattered the ribcage.
LILLY: Hell of a slug.
STILLMAN: There's no b*llet hole in the clothes.
VALENS: So the doer stripped her before sh**ting her.
STILLMAN: Makes sense.
LILLY: Now that we know her name ... next question.
(She reaches in and pushes the garbage bag away from the body's shoulders to
reveal nothing inside.)
LILLY: Where's her head?
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[INT. POLICE DEPARTMENT - BULLPEN -- DAY]
(The group sits around the desk reviewing the old Lambert case.)
LILLY: Janet Lambert. Worked the night shift at a 24-hour convenience store
off the Boulevard.
VALENS: Where she disappeared from night of November 2, 1985.
STILLMAN: Prime suspect at the time was her husband, Leroy Lambert.
JEFFRIES: Says here, same day Janet goes missing, she filed domestic abuse
charges against hubby. Walked out for b*ating her up in front of their eleven-
year-old daughter.
LILLY: Leaving cost Janet her life.
VERA: And her head. Takes a lot of hate, doing something like that. The kid,
Susan, says dad came to the store right before mom disappeared.
LILLY: Not much of an ID. All she saw were a pair of "men's boots."
VALENS: How'd that go down?
VERA: Mom told her to hide behind the counter if someone came in; afraid it
might be dad.
JEFFRIES: Loving patriarch, this Leroy.
VALENS: Missing persons couldn't pin him to it in '85. Guy's alibi was solid.
STILLMAN: Well, maybe it's crumbled some.
CUT TO:
[EXT. CAPPUCCIO'S MEATS (STOCK) -- DAY]
[INT. CAPPUCCIO'S MEATS -- DAY]
(Vera and Jeffries interview Janet Lambert's husband, Leroy Lambert.)
LEROY LAMBERT: I was at the bowling alley when Janet gone missing. Whole place
saw me sitting up there at the bar.
VERA: Bunch of drunks passed out in their beers. Real reliable.
LEROY LAMBERT: Bartender, too. He didn't touch a drop.
(Leroy Lambert takes a drink from his flask in front of Vera.)
VERA: Nice.
LEROY LAMBERT: Helps me think straight.
(Jeffries steps forward and takes the flask from Leroy Lambert.)
JEFFRIES: Think about this: Your wife's head was cut off. Sicko who did that
had a personal score to settle.
VERA: The way we hear it, you've got a mighty long score, Leroy.
LEROY LAMBERT: That bitch had it coming for what she did to me.
FLASHBACK TO:
[INT. LAMBERT TRAILER - EVENING]
(Leroy sits at the table while Janet calls for Susan.)
JANET LAMBERT: Susan! Time to eat!
(Song on radio: "Walking on Sunshine", Katrina and the Waves.)
(Janet puts a box of cereal on the table.)
LEROY LAMBERT: I want my breakfast.
JANET LAMBERT: I promised Susan I'd take her to the mall. I can cook you up
something hot when I get home.
(Leroy knocks the bowl and the box of cereal off the table and hits Janet also.
She falls down.)
LEROY LAMBERT: (shouts) I don't eat breakfast out of no box!
(Janet gets to her feet.)
JANET LAMBERT: Susan's in the next room, Leroy. Please don't start or she'll
see...
(He knocks the bowl off the table.)
LEROY LAMBERT: I ain't eating out of no box!
(Janet turns around and finds Susan standing there in the kitchen listening.
Janet motions her over.)
JANET LAMBERT: Sweetheart, come on, time for breakfast.
(Susan sits next to Leroy at the table while Janet prepares breakfast.)
JANET LAMBERT: Here you go, sweetie. I'm sorry, honey, I won't be able to take
you to the mall today. Next time, I promise.
SUSAN LAMBERT: (grumbles) You always break your promises.
LEROY LAMBERT: Don't sass your mother!
(Leroy slaps Susan.)
SUSAN LAMBERT: Mom!
(Susan runs to take cover behind Janet. Leroy sniffs at Janet. Janet grabs the
radio and throws it at Leroy hitting him on the head.)
LEROY LAMBERT: Ow!
JANET LAMBERT: Don't you touch her! Or me! Never again!
(Janet takes Susan and they walk out of the trailer. Leroy watches them go.
Off screen, the trailer door closes.)
(End of flashback. Resume to present.)
LEROY LAMBERT: That bitch walked out on me then and there. I never saw her
again.
JEFFRIES: Your daughter says different.
LEROY LAMBERT: Yeah, well, maybe what happened up in them woods to Janet should
have happened to Susan, too.
VERA: You're a real door prize, Leroy.
LEROY LAMBERT: Man-hating bitch, just like her mother. I didn't k*ll Janet.
But I sure wish I did.
CUT TO:
[EXT. BUILDING (STOCK) - DAY]
[INT. -- DAY]
(Lilly and Scotty interview Susan Lambert.)
SUSAN LAMBERT: I always hoped my mother was out there somewhere ... alive.
LILLY: That day, she filed domestic abuse charges against your father.
SUSAN LAMBERT: Yes. Could I see that?
(She reaches for the filed police report.)
VALENS: At the store, right before your mom disappeared, you said you saw
someone?
SUSAN LAMBERT: I know. It could have been anyone's boots. I was just a kid ...
scared.
LILLY: Thought your dad was coming for you. Your mom.
SUSAN LAMBERT: "Walking on Sunshine"?
LILLY: What?
SUSAN LAMBERT: It says it right here.
(She points to the police report. From what we can see, it reads:
[ ... 11 year old
... complained about getting
... would make him something hot
... she was struck in the face
... -o and continued to strike
... -o was "Walking On Sunshine"
... -er until she stumbled into
... -et relates that she begged
... was too late. Janet says
... Leroy struck Susan in the
... -wl at him, packed up
... -h St. was in her bedro- ...
... when she hea- ... ]
SUSAN LAMBERT: That song was playing on the radio when my father was b*ating up
my mom.
VALENS: Well, what does that have to do with her disappearance?
SUSAN LAMBERT: He was singing it.
LILLY: Who?
SUSAN LAMBERT: The man who came into the store that night.
(Quick flashback to: [INT. CONVENIENCE STORE - (1985) -- NIGHT] Susan doesn't
look at her mom.)
JANET LAMBERT: Hey. I love you, little girl.
(Janet smiles, turns and goes to take out the trash. The front door bell
jingles as someone enters the convenience store. Susan hides under the
counter.)
(The man walks into the store. Susan hides under the counter. The man walks up
to the counter. Susan can see his legs and boots. She's close enough to hear
the man singing.)
KIDNAPPER (MAN): (singing) I'm walking on sunshine / yeah, yeah / I'm walking
on sunshine / yeah, yeah ...
(The man walks out the back.)
(The back door shuts.)
(End of flashback. Resume to present.)
SUSAN LAMBERT: I waited and waited, but he never came back. Neither did my
mother.
VALENS: You're positive you heard that song?
SUSAN LAMBERT: I've never forgotten that day.
(Scotty's phone rings. He steps aside and answers it.)
LILLY: Thanks for your time, Susan.
(Lilly closes the file and turns to leave. Susan stops her.)
SUSAN LAMBERT: (quietly) The court sent me back to him ... after my mother
disappeared. What my father couldn't do to her anymore, he took out on me.
LILLY: I'm sorry.
SUSAN LAMBERT: Yeah, me, too.
(Scotty finishes his phone call and hangs up.)
VALENS: Lil, Stillman called.
(Lilly turns and walks over to Scotty.)
VALENS: Needs us at the woods.
(They glance back at Susan as they turn and leave.)
CUT TO:
[EXT. FOREST PRESERVE -- WOODS - DAY]
(Lilly and Scotty walk through the area.)
LILLY: Guy in the store could be Leroy.
VALENS: Gotta be Leroy. Who else would know about that song? What it meant to
Janet?
(They walk up to Stillman and the others.)
LILLY: Hey, boss. What's the rush?
(He stands at the edge of another grave. They all look down inside.)
STILLMAN: Canine unit uncovered this. Routine sweep of the crime scene. Single
g*nsh*t to the chest. Large caliber w*apon.
VERA: No holes on their clothes.
LILLY: How many?
STILLMAN: Eight.
VALENS: All headless?
STILLMAN: Yes, sir.
(Camera pulls up and we see a top view down of the Crime Scene Unit uncovering
multiple graves.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. POLICE DEPARTMENT - BULLPEN -- DAY]
(The group gathers around the victim board as they discuss the case. We see the
following names and corresponding photos:
LAMBERT, JANET (NOV 1985)
JAMES, TINA (NOV 1999)
LATRICE, HICKS (NOV 2001)
STILLMAN: Three of the nine bodies found at the wildlife preserve have been
identified. Body number one: Janet Lambert. Now, we know she went missing in
November of '85.
(Lilly steps up and posts a photo of the board.)
LILLY: Body number two: Tina James. White female, fourteen years old, reported
missing in November '99.
VALENS: Number three: Latrice Hicks. Black female, fifty years old,
disappeared in 2001, November.
STILLMAN: Coroner's working on identifying the others.
JEFFRIES: No way Leroy's responsible. Spent 1988 to 2001 in and out of lockup.
Same dates our victims went missing.
LILLY: All in November.
VERA: So, if it wasn't Leroy, how did he know about the song?
VALENS: What we do know is, he strips 'em, probably r*pes 'em, sh**t 'em.
LILLY: Doesn't explain how he picks 'em. They've got nothing in common:
Different races, ages, professions.
VERA: Most serial K*llers have a type.
STILLMAN: Uniforms ID'd a possible witness in the wildlife preserve. Let's
talk to him ASAP.
LILLY: Families are coming in?
STILLMAN: (nods) Yeah.
(Stillman turns and leaves. Lilly nods.)
CUT TO:
[EXT. WILDLIFE PRESERVE - DAY]
(Jeffries and Vera interview the Wildlife Preserve Ranger and possible witness.)
WILDLIFE RANGER: I keep logs of illegal hunting here on the wilderness
preserve. Poachers, hunters, they come by at night, trying to pinch some deer
meat.
VERA: You heard g*nshots early morning, November 3, 1985?
(The Ranger opens the logs and shows them the entry.)
WILDLIFE RANGER: Yeah, I was working. Logged 'em.
JEFFRIES: Same night Janet Lambert went missing.
WILDLIFE RANGER: Yeah, I went out and told that guy there ain't no hunting
here. Not on my watch.
(Quick flashback to: [WILDLIFE PRESERVE - NIGHT] The Ranger walks through the
grassy woods. He turns and sees a hunter hiding behind the large rocks.)
WILDLIFE RANGER: Hey! Hey! I'm talking to you!
(The hunter stands up.)
WILDLIFE RANGER: There's no hunting on this preserve.
(The ranger sees the bag.)
WILDLIFE RANGER: What's in the bag?
(The Hunter smiles. We note that he's wearing night-vision goggles.)
WILDLIFE RANGER: There's no hunting here. You've been warned.
(The ranger turns and leaves.)
(The hunter turns and cocks his r*fle. He continues on his way.)
(End of flashback. Resume to present.)
WILDLIFE RANGER: Real freak show, that guy.
JEFFRIES: And you never reported this?
WILDLIFE RANGER: No, I thought he was a poacher. Who cares about that but us?
VERA: You recorded sh*ts at 5:00 a.m.?
WILDLIFE RANGER: Yeah, that's right.
JEFFRIES: But Janet went missing from the convenience store at around 9:00 p.m.
VERA: So what was he doing with her all night?
CUT TO:
[EXT. WILDLIFE PRESERVE -- WOODS (STOCK) - DAY]
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Scotty interviews Latrice Hicks' sister, Thea.)
THEA: It was the last time I saw my sister.
VALENS: Latrice walked you to the bus stop. And that was around ... 4:00 p.m.?
THEA: Yes.
VALENS: You notice anyone suspicious on the street, Thea?
(Thea shakes her head, no.)
(Dissolve to: Flashback of: [INT. BUS - (2001) -- DAY] Thea walks on the bus,
takes a seat and waves to Latrice outside as the bus drives away. Thea smiles.)
(End of flashback. Resume to present.)
THEA: She was always worried, since the mugging.
VALENS: What mugging?
THEA: A few months before she disappeared, my sister was mugged.
VALENS: This happened in 2001?
THEA: We went to the police. She identified him in a lineup. Still in prison.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM - DAY]
(Lilly interviews Mark James, Tina James' father.)
LILLY: You last saw your daughter, Tina, at around 4:00 p.m.?
MARK JAMES: She was training. Headed out for an afternoon cross-country run.
(Quick flashback to: [EXT. PARK - (1999) -- DAY] Tina gets out of the car and
leans against the open passenger window. She looks at her dad. They wave good-
bye to each other. She turns and starts to run. She takes a few steps, turns
and waves to her dad over her shoulder)
(End of flashback. Resume to present.)
(Lilly looks at the photo of Tina James.)
MARK JAMES: She never came back.
LILLY: Was there a shortcut she'd take?
MARK JAMES: Not after that pervert jumped her.
LILLY: Tina was r*ped?
MARK JAMES: Attempted. Two years before she ... disappeared. I always taught
her to stand up for herself. She sprayed that r*pist in the face.
LILLY: Pepper spray?
MARK JAMES: Riot-control tear gas. Knocks an elephant down in two seconds
flat. Used it in the marines.
LILLY: What happened to the guy who tried to r*pe her?
MARK JAMES: Tear gas blinded him for life. Was Tina ... in pain when she ... ?
Did my girl call out for me?
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY - NIGHT]
(Scotty and Lilly report to Stillman as they walk through the hallway.)
VALENS: ... Janet, Tina, Latrice all victims of a violent crime before they go
missing.
LILLY: Domestic as*ault, robbery, attempted r*pe.
VALENS: Thing is, these doers ain't our doer. They were either in lock up or
outta commission at the time their victims went missing.
STILLMAN: Could be how our guy's picking them.
LILLY: Yeah, reads about the crimes in the paper and hears about them on the
radio. Picks the survivors.
STILLMAN: The coroners I.D.'d the other bodies. Check their histories for
prior crimes. Report Control Unit will be open in the morning.
LILLY: Thought we'd check tonight.
STILLMAN: Report still open?
VALENS: Yeah.
(Stillman heads out while Lilly and Scott turn and head back into the building.)
CUT TO:
[INT. POLICE DEPARTMENT - REPORT CONTROL UNIT - NIGHT]
(Lilly and Scotty go over the reports.)
GEORGE: All nine of your girls got 49's.
LILLY: All victims of prior crimes.
GEORGE: Carjacking, r*pe, as*ault with a deadly w*apon. Runs the gamut.
VALENS: Lucky they all survived.
GEORGE: Not so lucky if you think about it.
(George turns and heads back to his desk while Lilly and Scotty discuss the
case.)
LILLY: After Leroy gets through with Janet, he starts in on the kid, and Janet
clocks him in the face.
VALENS: Right.
LILLY: And Latrice Hicks, who got mugged ... broke the guy's nose when he went
for her handbag.
VALENS: Like Tina James with the tear gas.
LILLY: Yeah. They weren't just victims of a crime. They all fought back.
VALENS: Huh. (to George) We'll need any records on victims who did the same.
GEORGE: Uh, might take a few hours. We're not computerized.
LILLY: Well, we'll pick 'em up in the morning.
(George turns and heads for the back.) Lilly quiets down and thinks for a
moment. Scotty looks at her.)
VALENS: You taking the train? I'll walk you.
LILLY: I gotta go somewhere first.
(Lilly turns and heads for the door.)
VALENS: Well, be careful.
CUT TO:
[EXT. PHILADELPHIA CITY LIGHTS (STOCK) -- NIGHT]
[INT. BAR - KITCHEN / BAR - NIGHT]
(Christina is working in the kitchen of a bar and grill when Lilly walks into
the bar. She peers into the kitchen.)
LILLY: Classy joint.
(Christina turns and looks up.)
CHRISTINA: Classy girl. (She picks up her tray and heads for the bar.) You
here to drink? Or bitch?
(Lilly sits down at the bar.)
LILLY: Gimme a vodka orange. Hold the vodka.
CHRISTINA: Never did take after mom.
LILLY: Where you staying these days?
CHRISTINA: The Y.
(Lilly puts her housekey on a keychain down on the bar.)
LILLY: There's a daybed downstairs. Cats might fight you for it, but ...
(She slides it across the bar toward Christina.)
CHRISTINA: What changed your mind?
LILLY: You can't be wandering around like some kinda ...
CHRISTINA: Some kinda what?
LILLY: You don't know what's out there.
CHRISTINA: And you do?
LILLY: Wish I didn't. Sometimes.
(Christina takes the key.)
CHRISTINA: Just till I get something permanent.
(She walks out of camera frame.)
CUT TO:
[EXT. POLICE DEPARTMENT BUILDING (STOCK) - DAY]
[INT. POLICE DEPARTMENT - BREAK ROOM -- DAY]
(Frannie goes over the reports with the group.)
FRANNIE: Autopsies showed no evidence of r*pe or sexual trauma in even the most
recent bodies.
LILLY: Then what's he doing with 'em all night?
FRANNIE: Well, breaks and fractures were apparent in most of the victims' feet.
(She points to the photos.) Multiple lacerations on their soles, and on the
fresher bodies, torn ligaments.
STILLMAN: Meaning?
FRANNIE: Types of injuries you get running barefoot over rough terrain for
several hours.
JEFFRIES: He's chasing them through the woods?
FRANNIE: Looks like it, yeah.
STILLMAN: Ballistics in on the b*llet yet?
JEFFRIES: Arisaka model 38. Japanese. Bolt-action r*fle. Imported after
World w*r II.
(Stillman looks at a photo of the r*fle.)
STILLMAN: Can't be many places that sell that a*mo.
LILLY: Only one in the city is an army surplus store on the boulevard.
JEFFRIES: Let's go.
CUT TO:
[INT. ARMY SURPLUS STORE -- DAY]
(Lilly and Jeffries interview the Army Surplus Store Owner.)
STORE OWNER: Guy orders the same kinda a*mo every year.
LILLY: We got a name, Will. Peter Brodsky.
JEFFRIES: Check his I.D.?
STORE OWNER: Hell, yeah. Last thing I need is to lose my license.
LILLY: Ordered the same thing. Year after year, except in 1999.
JEFFRIES: Same year Tina James goes missing.
LILLY: In 1999 he also ordered a "m*llitary m-95 with cp filter"? What's that?
STORE OWNER: Gas mask.
LILLY: What?
STORE OWNER: Special issue. Used for riot control. Filters out tear gas.
LILLY: How'd he know Tina carried tear gas?
JEFFRIES: You ever see this guy, Peter Brodsky?
STORE OWNER: Couldn't tell you what he looked like if you had A*F breaking down
the door.
LILLY: Whaddya mean?
STORE OWNER: The guy was like ... not there. Know what I mean?
(Quick flashback to: [INT. STORE - DAY] The Hunter picks up his things. He's
wearing a hunting cap, dark glasses and a sweat jacket pulled up high on his
neck.)
STORE OWNER: Got your a*mo and the gas mask. Y2k, huh? Receipt's in there,
too. Damn government taxes.
(The Hunter grabs a handful of deer eyes.)
HUNTER: How much?
STORE OWNER: Take all you want, buddy on me.
(The Store Owner watches as the Hunter takes his package and leaves. On his way
out, he stops in the aisle and looks up at something. He smiles. He walks out
of the store.)
(End of flashback. Resume to present.)
STORE OWNER: Like I said ... not there.
JEFFRIES: And you couldn't I.D. him?
STORE OWNER: Sorry.
LILLY: He stopped to look at something.
(Lilly walks down the aisle. She looks up and points at a poster hanging
against the ceiling.)
LILLY: That it?
STORE OWNER: Yeah, that's been up there since I opened the store.
JEFFRIES: What is it?
STORE OWNER: Orion.
JEFFRIES: The constellation. Clears the horizon for the first time ever year
... in November.
LILLY: Same month he k*lled.
JEFFRIES: Orion comes from the greek myth. Means "Great Hunter."
LILLY: That's why he makes them run.
JEFFRIES: (nods) He's hunting them.
(Lilly looks up at the poster and sighs.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. POLICE DEPARTMENT - BULLPEN -- DAY]
(Jeffries and Lilly reports back to the group. They stand around the victim
board looking at the photos of the women.)
JEFFRIES: He hunts them for hours in the woods, sh**t 'em before dawn, takes
their heads.
LILLY: He's a hunter. Targeting human prey.
VALENS: And now we got a name. Peter Brodsky.
STILLMAN: What I don't get is how he picks them up. Broad daylight, public
places. We know all these women are fighters.
LILLY: But no one ever sees or hears a thing.
VALENS: So maybe they go with him willingly. 'Cause they know him. Trust him.
JEFFRIES: You trust family. Friends.
(Vera walks in and joins the group.)
VERA: A cop. Peter Brodsky. Worked northeast division. A uniform. Left the
job in '84, drops off the face of the earth. Guy's nowhere in the system now.
STILLMAN: (sighs) All right, let's check for reports of suspicious police
behavior '84-2002 and Brodsky's IAB file.
(Stillman turns and leaves the room. Valens picks up a file from the table.)
VALENS: Our victims were abducted during the day, before sunset, right? All
but Janet Lambert. She was picked up at night.
LILLY: Well, maybe he tried getting her earlier.
VERA: Janet had her kid with her all day.
VALENS: So maybe Susan saw something at sunset.
CUT TO:
[EXT. - DAY]
(Lilly and Scotty re-interview Susan Lambert.)
SUSAN LAMBERT: We were in the car. Driving.
VALENS: Well, you remember seeing a cop?
SUSAN LAMBERT: Yes, I do. We had left the police station a few hours earlier,
after my mom filed the report. She was late for work.
LILLY: Then what happened?
SUSAN LAMBERT: We weren't even speeding, but then this cop pulls us over ...
(Quick flashback to: [EXT. ROAD - (1985) -- EVENING] Janet slows her car
down.)
JANET LAMBERT: (to herself) What'd I do?
(As she waits, she looks quietly at Susan.)
JANET LAMBERT: I know why you're mad at me.
SUSAN LAMBERT: I'm not mad at you.
JANET LAMBERT: Because of what your daddy did today.
SUSAN LAMBERT: He does that every day, mommy.
JANET LAMBERT: He won't. Not no more. I promise. I'm not breaking any more
promises, not to you, Susan.
(Janet rolls her car window down.)
JANET LAMBERT: Officer? I don't think I was speeding.
(He sees Susan in the car.)
OFFICER: What's she doing here?
JANET LAMBERT: Excuse me?
OFFICER: No speeding. You got your warning.
(The officer quickly turns and leaves. Janet and Susan watch perplexed as the
officer quickly drives away.)
(End of flashback. Resume to present.)
SUSAN LAMBERT: You think a cop had something to do with my mother's ... m*rder?
LILLY: We don't know yet.
VALENS: You think you could I.D. him, Susan?
SUSAN LAMBERT: I barely saw him. (shakes her head) I'm sorry.
(Scotty's phone rings. He steps aside to answer it.)
VALENS: Excuse me.
LILLY: It wasn't your fault, what happened to your mom.
SUSAN LAMBERT: If I could have that moment back? I would have told her.
LILLY: What?
(Suddenly, Susan's that eleven-year-old girl again.)
SUSAN LAMBERT: That I loved her, too.
(Scotty hangs up.)
VALENS: Lil. Got something.
LILLY: (to Susan) I'm sorry.
(Lilly stands up and walks over to Scotty.)
VALENS: Boys found a live one. Woman who reported a cop abduction in '97.
LILLY: A survivor?
CUT TO:
[EXT. WILDLIFE PARK (STOCK) - DAY]
[EXT. WILDLIFE PARK - DAY]
(DeeDee smokes a cigarette as Jeffries and Vera interview her.)
DEEDEE COOPER: He brought me here. Yeah.
(Quick flashback to: [EXT. WILDLIFE PARK - (1997) -- NIGHT] A woman screams.)
DEEDEE COOPER: Help me!
(End of flashback. Resume to present.)
DEEDEE COOPER: I was working at the bar that night, you know, doing a little
...
(She motions smoking dr*gs.)
DEEDEE COOPER: ... in the parking lot when this cop rolled up. Said he was
bringing me in for disorderly conduct.
VERA: Did you get a look at him?
DEEDEE COOPER: I was wasted. Could've been Mickey Mouse and I wouldn't have
known. Got his name, though. Brodsky something. (Vera and Jeffries look at
each other.) Lot of good it did. Cops looked at me like I was making it up.
JEFFRIES: They filed a report.
DEEDEE COOPER: They didn't do nothing with it, did they?
VERA: This cop, Brodsky, gets you in the car. Then what?
DEEDEE COOPER: He starts driving and driving ... then he stops.
(Quick flashback to: [EXT. WILDLIFE PARK - (1997) -- EVENING] The officer pulls
up and takes out his r*fle. He opens the back door.)
OFFICER: Get out.
DEEDEE COOPER: (scared) I didn't see your face, officer. I can't ID you. We
can do it in the back seat. Any way you want. I'm real good, I'll be real
good. Just don't hurt me, please.
OFFICER: Don't act dumb ... like an animal.
(He holds out his hand for her.)
DEEDEE COOPER: Don't. Please.
OFFICER: "Don't" and "please." They always say those words. Ready to run,
Atalanta?
(DeeDee freezes.)
DEEDEE COOPER: What did you call me?
(A second car drives up the road and pulls up. Inside is a couple. DeeDee sees
the car and starts screaming.)
DEEDEE COOPER: Help! Help!
(She pushes out of the car and runs toward the second car. The Officer/Hunter
gets into the officer car and drives away.)
(End of flashback. Resume to present.)
JEFFRIES: What's Atalanta?
DEEDEE COOPER: Princess Atalanta. A story I heard as a kid. See, a few years
ago when I almost got r*ped, I couldn't do nothing. I just lay there ...
waiting to die. Then I remembered Atalanta, the princess who was the fastest in
the land. Gave me the strength to run away, remembering that.
VERA: Did you tell anybody else about that?
DEEDEE COOPER: (shakes her head) No one. Just me and God. How could he know?
CUT TO:
[EXT. POLICE DEPARTMENT BUILDING (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - REPORT CONTROL UNIT - NIGHT]
(The group gathers in the Report Control Unit looking over the old police
reports and discussing the case.)
VALENS: Found Peter Brodsky in Butte, Montana. Hasn't been in Philly for
twenty years.
STILLMAN: We sure?
VALENS: Him and his wife left town for good in '84. He was sh*t on the job.
Been in a wheelchair since.
JEFFRIES: So someone knew Brodsky was out of commission.
VERA: And stole his identity.
LILLY: Well, he knew these women were victimized before, that they all fought
back.
JEFFRIES: And how they defended themselves. Tina James with tear gas.
(Jeffries points to the police report. From what we see, it reads:
[ ... -fused to speak with him, he ...
... knocked her to the ground. ...
... of riot control tear gas an- ...
... ran to the nearest phone an- ...
... he led him to the place of ...
... completely blinded. ]
VALENS: Other people could've known. Her old man knew.
STILLMAN: But he knew the song, Scotty, and what it meant to Janet.
JEFFRIES: She told the cops about the song.
(The police report reads:
[ ... was struck in the face
... continued to strike
... "Walking On Sunshine"
... until she stumbled into
... relates that she begged
... too late. Janet says
... struck Susan in the ]
VERA: But Atalanta? How'd he know about that?
LILLY: Well, he knows about the song and the tear gas and the childhood story
... because it's in the report.
(The police report reads:
[ ... Ms. COOPER further ...
... lie there waiting to die when she ...
... the princess who ran the fastest i- ...
... "Princess running, princess running...
... away. She grabbed a clock on the ...
... in the head, then ran away.
... -EELEY #908 WDD arrested the assailant
LILLY: He's reading these reports.
VALENS: Well, let's say he ain't a cop, but he's got access.
STILLMAN: Well, who else would have access to the reports, to a cop's identity?
(Lilly turns around. Valens gets up and turns around. There in the partitioned
file room behind them ... is George. He going through the reports as he
continues working.)
CUT TO:
[INT. POLICE DEPARTMENT - STILLMAN'S OFFICE -- NIGHT]
(Stillman and Valens casually interview George.)
STILLMAN: I appreciate you coming up here, George.
(George nods.)
STILLMAN: We're hoping you can help us. You see, we're looking for fresh eyes
on this thing.
GEROGE: Wow. Sure. Fire away.
VALENS: Who could've read all these reports? I mean, you see the back and
forth. Who has access to all that?
GEORGE: Well, I'm the gatekeeper, everyone goes through me.
STILLMAN: So you're the only one who has access to the 49s?
GEORGE: And I run a tight ship.
STILLMAN: What stumps me is the women he picks. Fighters. Most of us, we
already got the ball and chain.
(They chuckle.)
GEORGE: Well, might be different if you were looking to k*ll her.
STILLMAN: That so?
GEORGE: He hates women. Because of his mother who was domineering,
controlling. Serial k*ller 101.
VALENS: Hmm.
STILLMAN: You read a lot, huh, George?
GEORGE: It's what I do.
VALENS: Spend a lot of time with those records, reading about our dead women.
GEORGE: Yeah, it's better than fiction, right?
VALENS: How so?
GEORGE: No one reads them, no one cares about them ... but me. Oh, by the way?
(Stillman looks up.)
GEORGE: (shrewdly) You're not going to find anything in my house.
(George smiles at them. Valens glances over at Stillman who stares at George.)
CUT TO:
[EXT. PHILADELPHIA CITY LIGHTS (STOCK) - NIGHT]
[VARIOUS sh*ts OF ITEMS]
(A clean stove top.)
(Three dark-colored coffee mugs on a counter top with a speckled design.)
(Three clean scouring sponges on the sink.)
(The kitchen shelves are lined with items grouped in three's. There are three
shelves to the right of the square wall clock. The top most shelf has just
three unidentified cans. The middle shelf has just three cans of whipped cream.
The bottom shelf has just three unidentified cans. The top shelf above the
clock has three boxes of something unidentified. The shelves and kitchen wall
is painted white and pristine. The three shelves to the left of the clock,
although out of camera frame, are probably the same: three shelves with three
items on it each.)
[INT. GEORGE'S HOUSE - KITCHEN/LIVING ROOM -- NIGHT - 8:11 PM]
(Jeffries, Vera and Lilly are at George's house with a CSU team.)
VERA: Not a hair out of place. No dirty dishes, no stained laundry, nothing.
LILLY: He had to wash the blood off somewhere. CSU's pulling the drains now.
JEFFRIES: They're dusting his clothes for prints. If our victims fought back,
maybe we get lucky.
(Lilly leaves the room. Vera runs his fingertip along the book on the shelf.)
VERA: I'm not even getting dust here.
(Jeffries finds something and picks it up.)
JEFFRIES: You hunt, Nick?
VERA: Yeah. 'Course.
JEFFRIES: Look at this.
(Jeffries shows Vera the glass bowl of deer eyes.)
[INT. GEORGE'S HOUSE - BEDROOM-- NIGHT - CONTINUOUS]
(Lilly walks into George's bedroom. The place is clean. She sees something:
black boots at the side of the bed.)
FADE OUT
(COMMERCIAL SET)
FADE IN.
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Stillman and Valens interview George.)
STILLMAN: Found your boots, George.
VALENS: Lot of blood, taking off a head. Tough to wash out.
GEORGE: (scoffs) But not impossible. We're just talking here, right?
VALENS: Right. Just talking.
GEORGE: (smug) And I'm free to walk out anytime I want. Most people think
they have to stay, talk. Dumb civilians.
VALENS: Not you, though.
STILLMAN: What are your thoughts on this guy, George? I mean, why did he take
their clothes off? He's not raping them. What's the point?
GEORGE: Hmm. Good question. Uh ... control? Humiliation? (smiles) The way
their teats pucker in the cold?
(He chuckles.)
STILLMAN: It's tough, getting a woman's clothes off when she's not willing.
VALENS: Must've been scratching, kicking, fighting. They fight you a lot,
George?
(George's smile grows.)
(Quick flashback to: [(2001) -- NIGHT] Various sh*ts of Latrice Hicks up
against a tree. She stares at her abductor, crying as she unbuttons her shirt.
She shakes her head, no. She pulls her shirt apart as her abductor points the
muzzle of his r*fle at her chest.)
(End of flashback. Resume to present.)
(George smiles.)
GEORGE: Statistically speaking, victims rarely fight back when a firearm is
used in the commission of a crime. And you mean "him."
VALENS: Well, like we said, just theorizing.
STILLMAN: Hypothesizing. We appreciate your insight, George.
GEORGE: Any time.
VALENS: So, why do you think he picks survivors?
GEORGE: Wants a challenge. (chuckles) That's obvious.
STILLMAN: Once he finally tracks them down, I bet they're not so uppity
anymore, huh?
VALENS: And then he teaches them a lesson.
GEORGE: Oh, I imagine there are many lessons taught ... in the woods.
VALENS: (to Stillman) Know what I think? This guy? Never got laid once in
his life.
(Both Valens and Stillman chuckle. George's jaw works, but he remains silent.)
VALENS: (smiling) Because, you know, it sounds to me like he's got a real
problem with the ladies. You know?
GEORGE: You're the one with the lady problem ... from what I hear. Nothing
that a little thorazine can't fix.
(Valens' smile fades. He takes a step toward George.)
VALENS: Don't you talk about her.
STILLMAN: Scotty ...
GEORGE: You know what I mean, Lieutenant. Got a few lady problems of your own.
STILLMAN: Is that right?
GEORGE: Ex-wife who hasn't spoken to you in ten years, daughter who only
pretends to love her daddy. Those second-rate medals hanging in your second-
rate office. Were they really worth it?
(He looks at them.)
GEORGE: Like I said, I can stop talking. And I'm done talking to you.
(George turns his back to the two detectives.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Vera and Jeffries interview George.)
VERA: Saw your place, George. You're a hell of a neat freak.
JEFFRIES: How's such a tidy guy do the messy business of taking off heads
there?
GEORGE: I didn't take off anyone's head.
JEFFRIES: I meant animal heads, George. You hunt, don't you?
(Jeffries puts a deer eye on the table in front of George.)
GEORGE: Chasing dumb animals in the woods -- no challenge.
VERA: You like a challenge, George?
GEORGE: I bore easily.
VERA: So if our k*ller wants a challenge, why hunt women, why not men?
JEFFRIES: An NBA player, Olympic athlete, guy at the gym.
VERA: Why does he always go for the doe, the weaker sex? Why is that?
GEORGE: Maybe those females had more to live for. Like the ones with children
put up a real squall, I bet, if he promised to bring their little ones into the
woods, too. Hmm!
VERA: Some hunter.
[OBSERVATION ROOM]
(Stillman and Lilly listen in on the interview.)
VERA: Taking down children, women.
[RESUME VIEW]
JEFFRIES: Plus he let one get away.
GEORGE: (chuckles) What, you mean the drunk? Or is she a full-blown addict by
now?
JEFFRIES: How'd you know who we're talking about?
GEORGE: I read her report. No D.A. would ever put her on the stand. Sloppy
police work. Kite'll be disappointed ... (to the mirror) ... again.
(In the observation room, both Stillman and Lilly back away from the mirror.)
GEORGE: Another bungled lead. (to Vera) Kind of like the Chimayo case.
VERA: What's that?
GEORGE: Oh, I read those files, too, Nick. You screwed the pooch big time. Or
rather, someone screwed a lot of juicy pooches because of you. (He chuckles.)
VERA: That's it. Come on, get up.
(Vera takes a step forward.)
JEFFRIES: Hey, hey, Nick, Nick!
VERA: Get up! Come on! Get him up!
(Jeffries holds him back.)
VERA: Come on, come on, come on.
GEORGE: Fine line between being human and an animal. Look at you.
VERA: So, tell me about the dumb animals, George.
GEORGE: I once read a pursued animal will run on broken toes, fractured shins,
bloody stumps of feet. There are worse things than r*pe, Nick. Things that go
on for hours.
(Quick flashback to: [EXT. WOODS - (1999) -- NIGHT] The exhausted woman stands
in front of her Hunter. She falls to her knees. The Hunter raises his g*n and
points it at the sobbing woman.)
TINA JAMES: I want my daddy ... daddy ...
(End of flashback. Resume to present.)
GEORGE: Hypothetically speaking, of course.
JEFFRIES: She was just a little girl.
GEORGE: Oh, I imagine at the end she wasn't. The things a female will beg to
do, if only you'll let her live. Ever wonder what Mrs. Jeffries begged for on
that lonely highway before she d*ed?
JEFFRIES: Not gonna work, George. Sorry.
GEORGE: Because I know.
(George smiles.)
GEORGE: Don't forget your deer eye.
VERA: Deer eye, George?
(Jeffries reaches for the deer eye.)
JEFFRIES: You, uh, a taxidermist?
GEORGE: Done talking to you.
VERA: 'Cause if you never hunted, why you have these at your place?
GEORGE: Done talking.
(He turns and looks at the mirror.)
GEORGE: (sneers) I want the blonde.
(Camera holds on Lilly.)
FADE TO:
[INT. POLICE DEPARTMENT - BULLPEN -- NIGHT]
(Stillman meets with Lilly and the others.)
STILLMAN: All we need is one admission, just one slip-up. Get him to say he
was there.
(Scotty returns.)
VALENS: Results are back from the lab. On his boots ... no blood residue.
Nothing. Ditto on the house. Drains're clean. No hair, no trace evidence.
Couldn't even lift George's prints.
VERA: This guy wipes down his own house?
JEFFRIES: I'm going out for coffee.
(Jeffries stands up and turns to leave.)
LILLY: You okay?
(On his way out, he knocks over a chair.)
(Stillman turns and looks at Lilly.)
STILLMAN: Put him in those woods, Lil.
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- NIGHT]
(Lilly interviews George.)
LILLY: Like being in this room, George? Playing games ... excite you?
GEORGE: (chuckles wryly) I've watched you here. Upon occasion.
LILLY: Really?
GEORGE: Really.
(Lilly walks over to the mirror.)
LILLY: So, you snuck into observation? Groped your ding-a-ling in the dark?
GEORGE: I wouldn't flatter myself if I were you.
LILLY: That thing only work in the woods? Or maybe not even there?
GEORGE: Yet another tired-assed Lilly trick. Seen it before, seen it before.
Yawn.
(Lilly smiles, the two joking as if they're old friends.)
LILLY: Ah ... ah, we're just warming up.
GEORGE: Ooh, show and tell.
LILLY: That's right.
(Lilly sits down opposite George.)
GEORGE: Then let me tell you something about Lilly Rush.
LILLY: Hmm.
GEORGE: Why you really became a cop. What you've never told a soul. The bad
thing that happened to Little Lilly ... long, long ago.
LILLY: Hmm.
GEORGE: I read your 49.
(George smiles.)
[OBSERVATION ROOM]
(Scotty starts. He's never known this before. He glances over at Stillman who
shares a look with Jeffries.)
[RESUME VIEW]
LILLY: Did you?
GEORGE: You ever dream about it, Lilly?
LILLY: No. No, I don't.
GEORGE: Uh-huh. Keep telling yourself that.
(He smiles and chuckles at her.)
LILLY: Know your enemy. You've done your homework.
GEORGE: Mm-hmm.
LILLY: So have I.
(Lilly opens the desk drawer and takes out a Philadelphia Police Report file
folder. She puts it on the desk between them and opens it.)
(George swallows.)
LILLY: Age 18 ... failed the Police Academy entry exam. Age 20, you fail the
physical for a, uh ... (She chuckles.) ... Shopping mall security guard?
Couldn't even make it as a Rent-a-Cop. So, here you are, 45 ... filing away
pieces of paper. No wonder you like to play dress up. You know, you wanna
walk, be my guest.
(She tosses the file folder on the table and pushes her chair out.)
LILLY: I'm done with you.
(She leans forward and stands up.)
LILLY: Oh, uh, one more thing. Age 12 ... your mother is m*rder*d.
(She walks around the table and sits on its edge next to George.)
LILLY: What could she have done to you?
(He doesn't respond.)
LILLY: Ever dream about it, George?
(Lilly reaches out to touch George on the shoulder - he pulls away from her.)
LILLY: No wonder you're such a small, little man.
(Lilly hops off the table and heads for the door.)
GEORGE: (suddenly) Don't you walk away from me. Don't you walk away from me!
(She stops.)
GEORGE: Not there he's not.
(She turns around and walks back toward George.)
LILLY: Where? In the woods? Tell me... who you are in the woods.
GEORGE: He's ...
LILLY: You. Who you are. Tell me.
GEORGE: (half-whispers) God.
(Quick flashback to: [EXT. WOODS - (1985) -- NIGHT] Janet Lambert is
exhausted. She falls to her knees after running all night. The Hunter walks up
to her from behind.)
JANET LAMBERT: (sobbing) No. No. Please, don't, please!
(The Hunter looks at her through his night-vision goggles.)
JANET LAMBERT: (begging) I have a daughter, and I can't break any more
promises to her, because she doesn't have nobody. Nobody in this world but me
...
(The Hunter raises his g*n.)
JANET LAMBERT: I love you, little girl.
(She closes her eyes.)
(End of flashback. Resume to present.)
(George takes a breath.)
GEORGE: I'm done with you.
(George stands up. Lilly stands in his way.)
LILLY: Tell me how you k*lled her.
GEORGE: I gave you my thoughts ... my conjecture. We were just talking, right?
LILLY: What did you do with her head?
GEORGE: You mean, what did he do?
LILLY: Where did you put them, George?
GEORGE: Ask him. I have no idea. It's over.
LILLY: No, it's not over, so sit down!
GEORGE: (carefully) Oh, no. It is over.
(George brushes past Lilly and heads for the door.)
[OBSERVATION ROOM]
VALENS: He's just gonna walk?
VERA: No confession.
JEFFRIES: She was close.
(Stillman says nothing.)
[INTERVIEW ROOM]
LILLY: I'll be watching you.
(George pauses in the doorway and turns around to look at Lilly. He leans
casually against the door frame.)
GEORGE: (lightly) Think I might leave town. Do some traveling. Beautiful
country we live in, lots of empty woods ... you ever hunt?
LILLY: No.
GEORGE: We should do it sometime. Together.
LILLY: Maybe we will.
(George turns and waves to the men behind the mirror.)
(With a last glance at Lilly, George turns and leaves.)
(Slow motion. George walks through the bullpen. The other detectives working,
stop and watch him walk out.)
(George smiles to himself.)
(Lilly turns and looks back at the victim board with the names, faces and dates
of all the women m*rder*d. Just a few that we see:
WILLIAMS, MARTHA (NOV 1991)
SIMON, BEATRICE (NOV 1993)
ZUCKER, GLORIA (NOV 1996)
LOPEZ, YVETTE (NOV 1995)
LAMBERT, JANET (NOV 1985)
JAMES, TINA (NOV 1999)
(Camera holds on Janet Lambert's photo.)
CUT TO:
[VARIOUS CUTS DURING FINAL SONG]
SONG:
"Long, Long Way to go", Phil Collins
[WOODS - DAY]
(Susan Lambert puts a bouquet of a dozen roses on the ground at the base of the
large tree. She looks up at the sky above.)
[STILLMAN'S OFFICE - DAY]
(Stillman sits at his desk. In the background, we see the display of medals on
his shelf. He takes his glasses off and looks around.)
[VICTIM BOARD]
(Camera pans the photos of the women who d*ed:
LAMBERT, JANET (NOV 1985)
JAMES, TINA (NOV 1999)
[INTERVIEW ROOM]
(From the end of the room, Lilly stares at the victim board. She walks forward,
reaches up and straightens the photo for LATRICE HICKS (NOV 2001). It's such a
small thing.)
(Camera pulls back and we note the other names on the board:
HICKS, LATRICE (NOV 2001)
RAYMOND, THERESA (NOV 1989)
DISSOLVE TO:
[VALENS]
(Scotty sits alone in an interview room - his head in his hands. The balls of
his hands are pressed against his tired eyes. He looks in front of him resting
his head on his hands.)
(He stares off in front of him.)
[JEFFRIES AND VERA]
(Jeffries and Vera are in a bar sitting at a side table nursing their drinks.
They're each lost in their own thoughts.)
[LILLY]
(Lilly returns home and leans against the door frame as she watches Christina
sleep on the day bed.)
(Lilly sits down on the edge of the bed. She turns and looks at Christina.)
(Lilly lies down and rests her head on the pillow as she pets her cat Olivia.)
FADE TO BLACK.