See No Evil

This is a work of fiction. Any resemblance to persons or situations, living or dead, is unintentional and coincidental.


SEE NO EVIL



FADE IN:
INT. NYPD DETECTIVE ADAM PETRELLI’S OFFICE MORNING
Veteran DET. ADAM PETRELLI and trainee DET. PETER RICHARDS are in Adam’s office. A secretary in uniform, JOANNIE, brings a file into the office and hands it to Adam, then leaves. Adam is standing in the middle of the office, his shirt sleeves rolled up and his tie off, his top button unbuttoned. Peter sits attentively at an empty desk across the room, his suit and tie on.

ADAM PETRELLI
(to Peter) But, (takes the file, to Joannie) thanks, Joannie. (walks to his desk, leans against it with the file) I remember what it was like when I first started training in the detective division. It can be overwhelming ‘cause it’s a whole different world than street patrol. But, I’ll teach you every thing I can, Peter.

Adam goes to his chair, picks up his jacket and tie, begins rolling down his shirt sleeves while holding the jacket. Peter’s desk appears busy, with files and paperwork about the desk.

PETER RICHARDS
In that case, I should end up one of the best, because I’ve heard that you are the best.

Adam begins walking towards the door with the file, putting on his tie and buttoning his top button. He motions for Peter to follow and Peter does. Peter is carrying a two-inch stack of training manuals, simple staples holding the paperwork together without covers.

ADAM PETRELLI
(laughs) Lesson number one: Don’t believe everything you hear. (hands Peter the file) Take a look at that.

Peter and Adam walk out into the hall.

INT. HALLWAY OF NYPD OFFICE MORNING
Adam begins to put on his jacket as he and Peter begin to walk down the hall when they are stopped just outside Adam’s office by CAPT. IAN MCGUFF.

CAPTAIN MCGUFF
Petrelli, the front desk just told me that Josh Barton is here to see you.

ADAM PETRELLI
Yeah, Cap. I’m on my way there now.

CAPTAIN MCGUFF
I thought that case was closed?

ADAM PETRELLI
Not closed, Cap, just not enough evidence to do anything with.

CAPTAIN MCGUFF
Same thing.

ADAM PETRELLI
Well, I just couldn’t close the case without at least talking to Barton. I may get nowhere, but I wanna at least give it a try.

CAPTAIN MCGUFF
See, Richards? Petrelli’s thoroughness is one of the reasons I’m having him train you. It’s the sign of a good cop and it also drives me crazy. Just remember, Petrelli, we’ve got a back load of old cases and too many coming in everyday then we can handle. Don’t spend a lot of time on this. Other cases need your attention. (to Peter, pats him on the arm) Nice to have you here, kid. (walks away)

ADAM PETRELLI
Will do, Capt.

PETER RICHARDS
Thanks.

Peter and Adam begin walking down the hall. Peter is reviewing the file while walking, looking up periodically.

PETER RICHARDS
(continuing)
So, what have we got here?

ADAM PETRELLI
Remember the vandalism over at Roosevelt Hospital, they painted graffiti all over the bricks?

PETER RICHARDS
Sure. It was all over the papers. They keep asking why there hasn’t been an arrest.

ADAM PETRELLI
Well, they were just out of reach of the security cameras. We’re pretty sure we know the three guys that did it, but they’re not rattin’ on each other. So, I’m hoping this Barton kid is a witness because he was seen in the area that night. One of the suspects named him.

Adam stops at an office door, leans in and speaks to ANN.

ADAM PETRELLI
(continuing)
Ann, do you have one of those empty files you can spare? (he leans in, grabs a rubber band from a container)

ANN
Sure. Here you go. (hands him an empty file)

ADAM PETRELLI
(to Peter, jiggles the training manuals) What cha got there kid?

PETER RICHARDS
Training manuals.

ADAM PETRELLI
Let me borrow those for a bit, will you?

Peter gives Adam the manuals, Adam puts them into the empty file, and puts a rubber band around it. Peter and Adam then begin walking down the hall again until they reach the interview room.

ADAM PETRELLI
(continuing)
Okay, kid, here goes nothing. You can watch from the viewing room. And, I’ll see if I can get anything out of Josh Barton.

INT. VIEWING ROOM MORNING
Peter Richards walks into the viewing room and watches through the two-way-mirror. The viewing room also contains a monitor showing camera footage from the camera in the corner of the interview room. On the monitor, Adam walks into the interview room. JOSH BARTON is sitting in the interview room. The room is empty except for a desk near the mirror and two hard-back chairs. Josh is tapping his left foot nervously on the floor.

INT. INTERVIEW ROOM MORNING
Adam Petrelli walks in, positions the chair so that he sits across from Josh Barton. Adam holds the file in his hand.

ADAM PETRELLI
Josh Barton? Adam Petrelli. How you doing today? (he shakes Josh’s hand and then sits)

JOSH BARTON
(quietly, still tapping left foot) Okay, I guess.

ADAM PETRELLI
Do you remember me?

JOSH BARTON
Yeah, I remember you. How could I forget? I ain’t new to this game.

ADAM PETRELLI
Josh, would you like something to drink? Coffee? Maybe a cold drink? (loosens his tie a bit)

JOSH BARTON
(shakes his head) No.

ADAM PETRELLI
Alright. Well, man, I wanna tell you that I really appreciate you’re coming to talk to me today. I know you’re busy with your job down at the textile plant and that new baby. How old is she now, Josh? Sara’s about six months old now, isn’t she?

JOSH BARTON
(smiles, his foot stops tapping) She just turned nine months old. She’s able to hold a bottle on her own now. (laughs) And, she’s got quite a little temper sometimes.

ADAM PETRELLI
They do grow up fast. I’ve got two kids myself. Boy and girl, but they’re almost grown now. I always tried to be a good dad, but it gets hard sometimes.

JOSH BARTON
Yeah. But, I can’t imagine life without her?

ADAM PETRELLI
I know what you mean, Josh.

Adam lays the thick file on the table, clears his throat, and taps his hand on the file.

ADAM PETRELLI
(continuing)
You know we gotta talk about this, now don’t you, Josh?

JOSH BARTON
(Josh looks downward, begins tapping again) Um-hum.

ADAM PETRELLI
(calmly, quietly) That file there, Josh, it’s the file on this case. All the evidence we’ve collected, all the interviews. (pause) There’s a lot of information in there, Josh.

JOSH BARTON
(still tapping, looking downward) I’m sure there is.

Adam pulls his chair a bit forward, leans toward Josh, places his hands in his lap as if folded in prayer, but studies Josh’s face and body language.

ADAM PETRELLI
You know, Josh, and we got to talk for a little bit. You’ve always seem like a nice guy, an honest guy. You never really got into any big trouble. And, I know that sometimes, people just make mistakes. That’s all it is, Josh. Just a mistake. We all make ‘em. It’s what makes us human, you know. We just got to learn to learn from our mistakes. Now, I know you expect baby Sara to make mistakes. And, I know you want to set a good example for baby Sara so that she grows up and maybe she won’t have to make the same mistakes. You know?

JOSH BARTON
(looking down, still tapping, leans his torso downward) Um-hum.

ADAM PETRELLI
So, why don’t you just share with me what happened and I’ll help you in any way I can.

JOSH BARTON
(still tapping, his torso forward, his eyes to the floor) (quietly) (pause) Well, it was just the (begins tapping both feet) one time.

ADAM PETRELLI
Just one? Okay?

JOSH BARTON
(tapping left only, his torso forward, eyes down) Well, maybe two. It was just for a little extra money, you know, to help pay for formula and stuff.

ADAM PETRELLI
(understandingly) I know you love that baby enough to make sure she has whatever she needs.

JOSH BARTON
And, they gave me a hundred bucks each time just to deliver it. And, we needed the money, so I said I would. And, I did, and that was it. But, I knew it was wrong so I didn’t do it no more.

INT. VIEWING ROOM MORNING
Peter Richards looks at the file and toward the interview room with confusion. THREE UNIFORMED OFFICERS have joined Peter in the viewing room.

INT. INTERVIEW ROOM MORNING
Adam Petrelli and Josh Barton are still in the interview room.

ADAM PETRELLI
(quietly) Did you know what it was when they asked you to deliver it?

Josh is tapping left foot, torso forward, eyes down for most of the rest of questioning.

JOSH BARTON
Yeah, I did a year in juvie for selling meth. You already know that, man.

ADAM PETRELLI
(calmly) So, let me see if I got this right. You really needed the money for that new baby of yours so (stresses ‘only’) only because you needed the money for that baby, you agreed to transport some meth, but (stresses ‘only’) you only did it twice. Do I have that right, Josh?

JOSH BARTON
Yeah.

ADAM PETRELLI
About when did this happen?

JOSH BARTON
Couple weeks ago. Right before the holiday.

ADAM PETRELLI
Wow. Must have been scary having that stuff near you again after everything you went through in juvie. How far did you have to take it?

JOSH BARTON
From the neighborhood up to fifth street. You gonna protect me, ain’t you? If they ever found out I told…

ADAM PETRELLI
(holds his hand up, quietly) It’s okay. I know how it is out there on the streets, Josh. It’s hard just to get by. And, I know people don’t like to rat on each other. But, I know how much you care about baby Sara and you don’t want her and I don’t want her having to grow up around all these dealers, Josh. But, the only way to make that happen is for you to tell me who hired you and who you delivered it to. Can you do that, Josh? Can you set that good example for Sara?

JOSH BARTON
(long pause) Vinnie Gunn hired me. He had some dude there with him, but I don’t know who it was. Some guy they call the Rattler picked it up. I’ve never dealt with him before. He must be new in town. But, they find out I ratted and I’m a dead man. I’ll never see my baby girl grow up…

ADAM PETRELLI
It’so Okay, Josh. Okay. I’m real proud of you. You know, it takes a real man to be a good example for their kid, but I can see that you’re that kind of man, Josh. And, I want to thank you for coming here and being honest, for setting a good example for baby Sara. (pause) You did good today, Josh. You did real good. And, I’m gonna do what I can to help you and baby Sara. (pause, taps his fingers on the file) But, uh, Josh, what I asked you here today to talk to you about is the vandalism that happened over at Roosevelt.

Josh sits up straight again, his feet stop tapping, his voice is stronger, and his eyes make contact with Adam.

JOSH BARTON
That graffiti that happened?

ADAM PETRELLI
Yeah, that’s right.

JOSH BARTON
(shakes his head calmly) Yeah, I heard about that.

ADAM PETRELLI
Is there anything that you could tell us to help us with that, Josh?

JOSH BARTON
(calmly, comfortably) Oh, no, I don’t know nothing ‘bout that.

Adam takes the file and stands.

ADAM PETRELLI
Okay, Josh. I’ll be back in just a minute. Are you sure you don’t want some coffee or something? I’m gonna go get me a soda. (loosens his tie a bit more) It’s just too hot in here, but gotta wear the coat, you know.

JOSH BARTON
Coffee sounds good.

Adam motions that he understands, leaves the interview room, closing the door behind him.

INT. NYPD HALLWAY MORNING
Adam Petrelli walks a few steps, carrying the folder, rounds a corner and sees three uniformed officers and Peter Richards standing there. The officers and Peter begin applauding Adam, but Adam responds with humility.

OFFICER POST
The man’s getting confessions he’s not even trying to get!

ADAM PETRELLI
Yeah, yeah, yeah. I didn’t even see that one coming.

PETER RICHARDS
For a few minutes there, I thought I was looking at the wrong file. So, what happens now?

ADAM PETRELLI
Well, we go find Mr. Barton a cup of coffee and, on our way, we make a call to the D.A. See if he’ll press transporting charges based solely on Barton’s statement. Without any other evidence, I doubt it will happen. At least now right away.

INT. INSIDE PETRELLI’S UNMARKED CAR DAY
Adam Petrelli, who is in the driver’s seat, and Peter Richards sit in the car on the right side of the street, drinking coffee and studying an upper left street corner with RANDOM CITIZENS walking by. Josh Barton also walks around the upper left corner, away from Adam and Peter. MS. JANIS also walks from the upper left corner and then down the street.

ADAM PETRELLI
Well, you just have to convince them that you’re their friend and you’re there to help them, so that they’re willing to talk. That’s all. But, you gotta be really careful. Phrase a question the wrong way, make a promise you can’t keep, and they’ll get off scott free. Their lawyer will cry entrapment. (takes a sip of coffee) So, how does a California cop wind up in the big apple?

PETER RICHARDS
Sara, my wife, her job. She was transferred here a few months ago. I made the move after I got this position.

ADAM PETRELLI
So, how long did you walk the beat in San Diego?

PETER RICHARDS
Twelve years. Worked my way up to Sergeant, but I was starting to feel like it was more administrative than productive. Detective seemed like the next best move.

ADAM PETRELLI
Well, I’ve been a detective now for over thirty years. It’s got its pros and cons, you know.

Josh Barton is seen rounding the corner.

PETER RICHARDS
So, he just walks?

ADAM PETRELLI
For now. We need to get something out of Vinnie Gunn before we make any move.

PETER RICHARDS
Is Vinnie Gunn a dealer you’re familiar with?

ADAM PETRELLI
Well, I knew he was a punk kid, but I didn’t know he was a dealer. I know him, yeah. He’s from my old neighborhood. He and his mom live just a couple blocks from where I did. I’m sorry to say that the old neighborhood hasn’t changed too much over the years, so I ain’t real surprised that Vinnie’s ended up dealing.

PETER RICHARDS
What are we looking for exactly?

ADAM PETRELLI
Oh, uh, Ms. Janis.

PETER RICHARDS
Is she a dealer?

ADAM PETRELLI
(laughs) Not that I know of. Ms. Janis is a homeless lady. She hangs out around here, sleeps at the mission over on second street. You’ll recognize her because she’s the one pushing the empty shopping cart with the plastic pink flamingo tied to the front. She calls him Arthur. She’s a little loopy, but a real sweet lady. Harmless, you know. But, if you ask her how she’s feeling, and she says Arthur’s not feeling too well today, she means her arthritis is flared up.

PETER RICHARDS
An empty shopping cart? In California, the homeless tend to travel with everything they own.

ADAM PETRELLI
Well, Ms. Janis is one of a kind. She gotta be in her eighties if she’s a day. She lost everything when there was an electrical fire at her apartment at the housing project. Of course, she didn’t have much to start with. She ended up on the street a couple of years ago. She had nothing, no clothes, no insurance, no money, no family to help out. She slept on the street until she found the mission. She’s been there ever since, and she still has nothing. But, I don’t recall many times when I talked to her and she wasn’t chipper. She always finds something to smile about. Anyway, she always walks this street about this time every day. I just like to check on her and make sure she’s okay. You know, she had been walking this same route until a year or so ago. That was when some kid on the street gave her the pink flamingo. Then, everybody started to notice that Ms. Janice wasn’t coming around anymore. It turned out, she was at the mission, but her arthritis was getting so bad that she couldn’t walk without something to lean on, you know, and the mission couldn’t afford a walker. So, one of the other people staying at the mission who had a shopping cart actually gave that cart to Ms. Janis, and she’s been back walking ever since with that pink flamingo tied to the front.

PETER RICHARDS
So, what happened to the person who gave Janis the cart? Did they get into housing?

ADAM PETRELLI
Well, no, they just stole another shopping cart, but it was the thought behind it, you know.

PETER RICHARDS
What happens if we can’t get any more info out of Vinnie? Surely, the case won’t be dropped.

ADAM PETRELLI
One of the hardest lessons to learn, Peter, is that most cases don’t get solved. But, it’s not for lack of trying. But, this job isn’t like in the movies where there’s always a witness or some little piece of evidence that ties up all the loose ends and points the finger at the villain. We do what we can. We have to accept that.

PETER RICHARDS
Like interviewing Josh Barton even though you had no real leads on the vandalism case?

ADAM PETRELLI
Yeah. Be thorough, on every case, no matter what.

PETER RICHARDS
Just make sure that the important cases get the most attention.

ADAM PETRELLI
Well, not exactly. Every case is important to somebody. Besides, all the rapists and murderers have to start somewhere, and it’s usually with petty crimes. You just have to learn how to juggle them all. We’re always gonna have more cases than we can handle. It’s just part of the job.

PETER RICHARDS
Too much crime, too many forces understaffed.

ADAM PETRELLI
Some of the best advice I can give you, Peter, and some I wish someone had given me when I started, is that it’s not always about numbers. I’d much rather be understaffed, working with a bunch of people who are alert and on top of their game as fully staffed with too many people who are burnt out and just don’t care anymore. It’s easy to recognize burnout in someone else, but you need to learn to recognize it in yourself and allow yourself to take some time off to get your head back on straight. We’re one of the few precincts with a Captain who understands that. Work hard, play by the rules, do your best, and Cap McGuff will see that you get that time off when the time comes.

Ms. Janis is seen rounding the corner and walking down the left side of the street.

PETER RICHARDS
There she is. Seems like we could all learn a thing or two from her.

INT. INNER CITY STREET DAY
VINNIE GUNN and BOOKER AND EJA are standing in front of an apartment building, smoking cigarettes and laughing when Adam Petrelli (in the driver’s seat) and Peter Richards drive up and park alongside the road.

VINNIE GUNN
Man! Do they really think we don’t know that’s just a plain brown wrapper?

BOOKER AND EJA
Yeah.

Adam and Peter exit the vehicle and walk upon the sidewalk where the three boys are.

VINNIE GUNN
Well, if it ain’t Adam Petrelli. Who’s the fresh blood?

ADAM PETRELLI
Peter Richards, Vinnie. He’s new to the precinct. Booker, Eja, how you doin’?

BOOKER AND EJA
Okay.

PETER RICHARDS
Hey.

VINNIE GUNN
What? You got yourself an assistant now or something?

ADAM PETRELLI
No. He’s a detective.

BOOKER
You gonna be workin’ the hood?

PETER RICHARDS
Seems so.

VINNIE GUNN
Hum.

ADAM PETRELLI
We need to talk to you, Vinnie.

VINNIE GUNN
Well, here I am.

ADAM PETRELLI
Booker, Eja, why don’t you two head on home before I remember that neither of you are old enough to smoke those cigarettes.

BOOKER
Yeah, okay.

EJA
Catch you later, Vin.

Booker and Eja walk down the street. Vinnie leans his back against Adam’s car and continues to smoke.

VINNIE GUNN
What’s you wanna know, Petrelli.

Vinnie lifts the cigarette to his mouth. Adam gently takes it away from Vinnie and tosses it gently against the side of the building. Peter stands near Adam, looking about the neighborhood and watching Adam speak to Vinnie.

VINNIE GUNN
Hey!

ADAM PETRELLI
This is serious, Vinnie.

VINNIE GUNN
Fine, I’m listening. Now, what do you want?

ADAM PETRELLI
I know about your new occupation, Vinnie. Now, how do you think your mom is gonna feel when she finds out her little boy is dealing meth?

VINNIE GUNN
(chuckles righteously) I don’t know what you’re talking about, Petrelli. What makes you think I’m dealing meth? You may have me confused with the few hundred other dudes around here dealing one thing or another.

ADAM PETRELLI
(leans in toward Vinnie and whispers) I know about Rattler. (leans out again)

Vinnie appears concerned.

VINNIE GUNN
(chuckles uncomfortably) You’re just trying to yank my chain, dog.

ADAM PETRELLI
Really? You wanna take that chance. You’re nineteen now, Vinnie. It’s not juvie hall anymore. We’re talking adult prison now. And, this isn’t stealing a candy bar from Mr. Johnson’s store down the street. This is meth. It’s serious. The judges are cracking down. Now, you gotta choice. You can tell us yourself and pray for leniency. I’ll even help you if I can. Or, you can just pray that Rattler hasn’t blamed it all on you to save himself.

VINNIE GUNN
How do I know you’re telling the truth? Huh? You cops. You lie all the time, trying to get people in trouble.

ADAM PETRELLI
Well, let’s see. I know Rattler is getting it from you. And, I know there’s been at least four deliveries.

VINNIE GUNN
What! (begins to shuffle about)

ADAM PETRELLI
Let’s see four, maybe a year or so for each batch. Even if you get some time off for good behavior, you’re still looking at at least a couple of years in a prison with a bunch of guys who haven’t been on the outside in a very, very long time.

VINNIE GUNN
No, man, no way. It wasn’t no four times.

ADAM PETRELLI
How many then?

VINNIE GUNN
(quickly grabs a cigarette from his pocket, lights it and smokes nervously) It was once, just once. That’s all, man. And, I didn’t want to do it either, man. I was forced. And, and, and I didn’t even realize it was meth. I didn’t realize it was drugs, man. I just did what I was told so I wouldn’t get beat up or something. You’re from this neighborhood; you know how it is. Gotta protect your own back ‘cause there ain’t nobody else gonna do it.

ADAM PETRELLI
Why, Vinnie? Didn’t your father die dealing?

VINNIE GUNN
(calmly exhales, speaks calmly) Right around the corner there. Shot to death by the competition. I was standing right beside him when it happened.

ADAM PETRELLI
Why take the risk, Vinnie? You’re a smart kid; you’re worth more than that kind of life.

VINNIE GUNN
Only a few manage to escape from this neighborhood, Adam. You know that. You and me, we’re not really all that different, you see. You take your chances of getting killed living life without much, putting your life out there on the line for people who don’t even care. But, me, people want me around. And, I’d rather have a short life with a sweet ride and a little spending money than live long with the nothing you get around here.

ADAM PETRELLI
We’re gonna talk more about this later, Vinnie. Peter, will you stay here with Vinnie. (to Vinnie) Do not give him a hard time and do not leave. I’m gonna go talk to your mother for a minute.

VINNIE GUNN
You’ll find her in the same place she’s always been ‘cause there ain’t no getting out of here.

INT. GUNN APARTMENT DAY
The apartment is clean, but sparsely furnished and dimly lit. A BABY is crying in a bassinet in the kitchen as Adam speaks to VERA GUNN. Vera is wiping her hands on a towel. The sink is filled with soapy water and a few dishes are in the strainer on the counter. Vera appears very tired.

ADAM PETRELLI
Another detective is down there with him.

VERA GUNN
I don’t want to see my son arrested, Adam, but it’s probably the best thing for him. It hurts to say that, but I don’t know what else to do for him.

ADAM PETRELLI
Did you know he was selling meth?

VERA GUNN
Yeah. He brags about it. He’s making it with some other people in that abandoned building that used to be Mr. Johnson’s store. (picks up the baby, comforts it) I can’t seem to talk him out of it, Adam. (begins to cry) But, he always says that he can make a thousand a day. I’ve been working three jobs most of my life, worked some days until my fingers bled, and I’ve got nothing to show for it for blisters and a bad back. I haven’t been able to find something better for my kids than this. I just can’t reason with him. But, I’ve tried, Adam. Oh, I’ve tried. Day and night, I remind him what happened to his father. But, he keeps bringing up the money.

ADAM PETRELLI
I know it’s hard.

VERA GUNN
Yeah. But, little Connie is ten now. Doing good, too, Adam. She goes to school every day, makes good grades. She’s stayed out of trouble so far. And, I’m trying so hard to keep it that way. (smiles through tears) She says she wants to be a doctor someday. Could you imagine that? (proudly) A doctor? And, I think she could, too, if I can just keep her away from all the dealers and the pimps around here.

ADAM PETRELLI
(long pause, looks around, then to the baby) Vera, who are you babysitting for?

VERA GUNN
Babysitting? No. Oh, no. It’s my grandbaby. Yeah. About a year ago I sent Alisha uptown to live with some folks I worked for, cleaning their house. Kids around this neighborhood getting too rough, you know. They took a liking to Alisha and said they’d offer her all they could. But, guess what, they got drugs and crime uptown, too. Didn’t take long before Alisha was hooked and then she was pregnant. Then, she got turned over to protective services and she’s in juvie lockup till she turns eighteen. But, I got the baby. Uptown folk didn’t want to be bothered with a baby hooked on crack. Lost my daughter, lost my dreams for my daughter, and lost my job too. But, I keep hoping that maybe I can make a difference with Connie and with this little one here. We don’t have much, but we get by. I’m doing all I can.

ADAM PETRELLI
I know you are, Vera.

VERA GUNN
You gonna be taking my boy away today?

ADAM PETRELLI
As soon as the squad car gets here, Vera.

Vera appears sad, turns her back to Adam, and looks out the window.

INT. INNER CITY STREET DAY
Peter Richards and Vinnie Gunn stand by the car on the street chatting.

VINNIE GUNN
You didn’t grow up in this kind of town, did you? I can tell. You don’t have the edge.

PETER RICHARDS
You’re right. I didn’t.

VINNIE GUNN
I wouldn’t recommend it. A lot going on, all the time, night and day. You come through here any time and you’ll either see or hear something going down. See that building down there (points to his right) on the next block? Spencers live there. Mr. Spencer works at the fish market during the day, but every night he likes to drink. One six-pack on the steps before he goes inside. My guess is he has a few more. By nine or ten, depending on whether it’s the weekend, you’ll hear him hitting on his old lady. She tries to cover up the bruises, but we all know. Cops used to come out all the time, but no more. Either they decided to stop coming or everyone just stopped calling. Hard to say. (points to the building across from him and Peter) And, over there, best ass in the neighborhood if you got the extra money. It don’t take much. She comes cheap. It’s not like anyone around here has much money to pay her with anyway. Her father started pimping her out when she was just a kid. He never got in trouble for what he did, but she went to prison for stabbing him for it.

PETER RICHARDS
You know this place pretty well.

VINNIE GUNN
Everybody ‘round here does, man. You have to. It’s the only way to survive. Besides, the people ‘round here, they don’t go anywhere. They’re born here, they die here. Even you’re buddy, Adam Petrelli, is from here.

PETER RICHARDS
You mentioned that.

VINNIE GUNN
(points to the left) Just a couple blocks down that way. Didn’t get into too much trouble from what I hear ‘til he got sent off to juvie.

Peter appears confused.

VINNIE GUNN
(continuing)
You don’t know? Story is that Adam walked in an abandoned building where a bunch of kids would play. Anyway, he caught some guy with his kid sister, Adrienne. Must have been pretty bad; the girl died. Anyway, Adam started wailing on the guy. That’s when the cops showed up. Guy didn’t do much time. He claimed that he was trying to help the girl, that somebody else had hurt her and that Adam had misunderstood the whole thing. But, Adam went to juvie for assaulting the guy. When he finally got out, his parents sent him to live with some relatives in another state, but he found his way back here when he was old enough, got in with the police. His folks are dead now. That was a long time ago. But, that’s how he got out of the hood. He punched his way out.

INT. INSIDE SQUAD CAR DAY
Officer Post is seen putting a handcuffed Vinnie Gunn in the back seat of the squad car and then driving away.

INT. INSIDE ADAM’S CAR DAY
Adam Petrelli (driver’s seat) and Peter Richards shut the doors to Adam’s car. Adam turns the engine on, but they sit momentarily. DISPATCH calls over the police radio.

PETER RICHARDS
If she knows and didn’t report, that’s a crime. She’s as guilty as he is. Why are we not arresting her? Weren’t you the one who said go by the book?

ADAM PETRELLI
You do have to go by the book, but everything’s not always black and white. If we arrest Vera, we’ve got a ten year old and a baby that would go into the system, probably separate foster homes. And, where are you gonna find a foster home that’s gonna want a crack baby? The system doesn’t always work. We need to do something to intervene, to help Vera and the kids and the others like them.

PETER RICHARDS
Isn’t that what food stamps are for?

ADAM PETRELLI
Well, if you’ve ever been on food stamps and other financial support, then you know that’s it’s not always enough. But, this isn’t about money. This is about that support system people need that gives them a leg up once in a while, reminds them of hope, helps them stay on the right track, you know.

Adam pulls out into the street and begins to drive.

PETER RICHARDS
Why did you tell Vinnie that you’d spoke to the Rattler?

ADAM PETRELLI
I didn’t tell Vinnie that I’d spoke to the Rattler. I just made him think that I did. That’s one of the gray areas, kid. We’ve got two places we have to tell the truth: in court and on reports. The law doesn’t say anything about us having to tell the truth to potential witnesses or suspects. (smiles humorously)

Peter shakes his head, smiles, with understanding but surprise and confusion.
ADAM PETRELLI
(continuing)
It’s just a little trick in the detective handbook.

PETER RICHARDS
I got it.

ADAM PETRELLI
But, you gotta be careful. It can come back to bite you in court if you go too far. You gotta keep it reasonable, you know. This can be a dangerous game. Post will take Vinnie in, run him through the system. He won’t be able to make bond. I can guarantee it. So, he’ll be in there for a while.

PETER RICHARDS
And, Josh Barton?

ADAM PETRELLI
Post will pick him up and charge him when he’s done with Vinnie. Won’t be a problem. Josh is always at work this time of day. What worries me now is Rattler. We’ve started the game, but I don’t want too much information to get to him before we finish it. That’ll get somebody killed for sure.

DISPATCH (V.O.—ON RADIO)
Unit 4, come in.

ADAM PETRELLI
(picks up radio) Petrelli here.

DISPATCH (V.O.—ON RADIO)
Captain McGuff needs you over at 351 Chicago Avenue, apartment 38. Officers are on the scene.

INT. OUTSIDE APT. 38 AT 351 CHICAGO AVE. DAY
Peter Richards and Adam Petrelli are walking down the hall toward the apartment. They are walking and talking with OFFICER JOHN REED. OFFICER PERRY is standing outside the open apartment door to restrict entry.

OFF. JOHN REED
Coroner’s already here. We got called because the neighbor complained to the landlord about the smell. Landlord tried to get in, but the locks had been changed.

ADAM PETRELLI
Okay. Thanks, John. Hey, Perry.

OFFICER PERRY
Adam. (nods his head as if to say hello)

INT. INSIDE APT. 38 AT 351 CHICAGO AVE. DAY
The small, lower-middle class, third-floor studio apartment has an open window facing the street. A double bed is directly across from the door. On the bed lies the deceased, MARISSA ROSS, her eyes closed, her body slightly deteriorated and dressed casually, and flies buzzing about her body. CORONER ALICE JENNINGS is standing over the body on the side of the bed nearest the window making notes. OFFICER PARKER is taking photographs in the apartment of the deceased and of the entire apartment. A small table near the door is covered with various still cameras, film, and digital camera memory chips. The walls hold enlarged photographs of scenery and impoverished people in third world countries. Adam steps in to the apartment, looks around, and then goes to stand on the side of the bed farthest from the windows. Peter stands near Adam, studying the apartment and the body. On Adam’s side of the bed is a bedside table. On the edge are two empty bottles, both prescriptions, and a partial glass of water. Officer Reed, instead of entering the apartment, travels further down the hall, passing the door on the way.

ADAM PETRELLI
Alice, what we got? Oh, Dr. Alice Jennings, this is our new detective, Peter Richards.

PETER RICHARDS
Hi.

ALICE JENNINGS
I guess we’ll be seeing a lot of each other then. (swats the flies away)

Alice hands Peter and Adam latex gloves, which they put on.

ADAM PETRELLI
Parker, have you gotten pictures of this table yet?

OFFICER PARKER
Yeah. I’m almost done here.

Adam picks up the bottles, looks at them, and hands them to Peter.
ALICE JENNINGS
Scripts for pain pills and antibiotics.

ADAM PETRELLI
Z-pack and Hydros.

ALICE JENNINGS
Common for the flu.

PETER RICHARDS
They were just filled a week and a half ago.

ALICE JENNINGS
Yeah. And, I’d say she’s been dead about a week. I’ll know more after I get her back to the lab. The open windows have been letting the heat in and it’s effected the degree of deterioration of the body.

ADAM PETRELLI
Suicide?

ALICE JENNINGS
Looks that way so far. I’ve not seen any topical signs of trauma. Her name was Marissa Ross. She was a photographer. These shots on the wall…

ADAM PETRELLI
Look like Africa or something.

ALICE JENNINGS
Marissa took them. She worked for Travel Far Magazine. We found her media credentials in her bag. She just got back from India about two weeks ago. Went to the doctor because she had a cold she couldn’t shake. Now, she’s dead. She was only twenty-seven.

Peter (wearing gloves) drops the prescription bottles in an evidence bag held by Officer Parker (also gloved). Parker then takes the bag, seals it, and takes it to the camera table and places it beside another clear evidence bag containing Marissa’s media credentials and a third with the now-empty glass from the bedside table.
Officer John Reed walks back in the apartment with a small notepad. Adam walks over to the window and looks out. The central air conditioning comes on and begins to hum. Officer Parker goes to the thermostat.

OFFICER PARKER
It’s set on ninety.

PETER RICHARDS
I thought the windows were open when you got here?

OFFICER PARKER
They were, and we had to break the lock on the door to get in. We didn’t mess with thermostat. I’ll get it dusted, though. Just to be safe.

ALICE JENNINGS
Who leaves a window open with the air on?

PETER RICHARDS
(to John) How long has it been since the neighbor’s seen her?

OFFICER JOHN REED
Hard to say. The victim was traveling quite a bit. So, the neighbors didn’t think anything of it if they didn’t see her come or go for a few weeks at a time. Between the landlord and the tenants that we’ve talked to so far, only the landlord has seen her lately. That was a couple weeks ago when the victim got back from India. Ross always paid her rent about six months in advance. She lived here for three years. Never had any problems with her. We’ve treated it like a crime scene, like we usually do. The only clear prints we found on the bottles or the glass is Ross’s.

ADAM PETRELLI
But, nobody so far to tell us why she did this.

ALICE JENNINGS
With suicides, sometimes you never know. (drapes the sheet over Marissa’s face)

OFFICER JOHN REED
We’ve got the precinct therapist and a uniform notifying the family now.

ADAM PETRELLI
Any kids?

OFFICER JOHN REED
No. Both parents still living. One sibling, a brother, according to her emergency contact sheet at work.

ADAM PETRELLI
Okay. (begins pulling his gloves off) Let’s just do it by the book so when we write the reports we got answers to as many questions as possible.

INT. BUSY CITY UPTOWN STREET NIGHT
Adam gets out of his car and begins to walk along a busy city street lit up with lights. The street is filled with traffic and the sidewalks are busy with pedestrians. Adam walks for a short distance before he sees a prostitute, BETTY, leaning against the wall and a man, a STRANGER, handing Betty money. Adam catches the Stranger’s eye, then Adam moves his coat just enough to display the badge on his belt. The stranger is surprised, and runs in the opposite direction.

BETTY
Petrelli, what cha doin’? You’re bad for business.

ADAM PETRELLI
What are you still doin’ on the streets, Betty? I thought you went straight, got cleaned up?

BETTY
Shouldn’t of bothered. Ain’t nobody givin’ jobs to streetwalkers who can barely read. I couldn’t afford to feed my kids playing it straight. Aren’t you out of your neighborhood anyway? What are you doin’ in my territory? You gonna arrest me?

ADAM PETRELLI
No, not tonight, Betty. I’m lookin’ for somebody.

BETTY
Blonde, brunette, or redhead? Maybe I can get a commission or somethin’.

ADAM PETRELLI
I’m looking for a guy named the Rattler. You heard of him?

BETTY
(looks around nervously) Petrelli, you don’t know what you’re in for. You better go back to your neighborhood where you know who you’re dealin’ with. You don’t wanna be messin’ with the Rattler.

ADAM PETRELLI
Well, you know, I just can’t stand people selling that crap to kids. Now, you know where I can find him or don’t you? Is that where you’re getting’ your stuff these days?

BETTY
Everybody ‘round here is getting their stuff from the Rattler one way or another. It’s that trickle down theory, you know. I ain’t dealt with him personally, but I hear he hangs out over at Shooters.

ADAM PETRELLI
That’s a rough joint.

BETTY
Tell me about it. And the Rattler’s the roughest one in there. That’s all I know. Now, will you go on so I can get back to work?

Adam takes his wallet out and hands Betty some cash.

ADAM PETRELLI
Why don’t you take the night off? Go home, spend some time with your kids. (walks away)

BETTY
(yelling to Adam) You’ll never fix it, Adam. No matter what you do.

INT. PETRELLI HOME NIGHT
Adam walks into a small, modest kitchen, turns on a light, and drapes his jacket over the back of a kitchen chair. He goes to the sink, gets a glass from the strainer, runs a glass of water from the faucet, and begins to drink it. TALIA, his wife, then arrives and leans against the kitchen entranceway. Talia is dressed in a dressy, knee-length black dress and heels.

TALIA PETRELLI
(quietly) Missed you at dinner.

Adam turns and momentarily studies Talia’s dress.

ADAM PETRELLI
(regretfully) Oh, no. Talia…

TALIA PETRELLI
Alex and Jade both made it. Jade even brought her new boyfriend so you could meet him. We waited, but the restaurant was getting a little antsy so we finally went ahead and ordered.

ADAM PETRELLI
I’m sorry. It just slipped my mind. Really. Work got a little crazy and…

TALIA PETRELLI
(quietly) Work’s always getting a little crazy. You’re a detective; I’d expect as much. But, I thought our anniversary might be important enough for you to remember.

ADAM PETRELLI
I’m sorry. Really. I’ll make it up to you, Talia.

TALIA PETRELLI
(calmly) Ten years, Adam. Ten. And, I can’t say that you’ve been a bad husband. You’ve just been an absentee one. When we were waiting for you, Alex mentioned that when they were little Melinda was always complaining that you were always working and never home, and I found myself empathizing with her. We may be married on paper, but your heart is married to the job.

ADAM PETRELLI
It’s not a nine-to-five job, Talia. You know that. You’ve always known that. The community depends on the department for help.

TALIA PETRELLI
I know. And, that dedication that you have is one of the things I admire most about you. I know you take the time to do things right, to try and make a difference. I’m just getting a little tire of always coming in second place.

ADAM PETRELLI
So, what do you want me to do? Quit the force?

TALIA PETRELLI
(quietly) I don’t think you’d know what to do with yourself without that badge. It’s so much a part of you that I’m afraid you’d die without it. It’s like a vital organ. You need it.

Adam turns back to the sink, pours out the rest of the water in the glass and puts the glass back in the strainer. He then leans against the sink, his back to Talia.

ADAM PETRELLI
So, what then?

TALIA PETRELLI
I guess that’s up to you.

INT. CORONER’S OFFICE MORNING
Peter and Adam walk into the Coroner’s Office. Marissa Ross’s body is laying on a metal slab in the center of the office, covered in a sheet. Alice Jennings is sitting at her desk against the wall, writing on a chart.

ADAM PETRELLI
Alice, you wanted to see us?

Alice rises, putting on gloves, and walks to the location of the body.

ALICE JENNINGS
I sure did. (lowers the sheet to reveal Ross’s face)

PETER RICHARDS
It’s the suicide from yesterday. Ross, uh, Marissa.

ALICE JENNINGS
Um-hum. I thought it’d be pretty cut and dry, so I got started on it yesterday. Sort of clear out the easier cases for some nastier ones that I expect to take more time. Anyway, found a few surprises. Like her blood tests, for instance.

Alice returns to her desk, opens a file, removes a piece of paper and some photos, then returns to the body. She gives the paper to Adam and the photos to Peter.

ALICE JENNINGS
(continuing)
We found only two prescriptions beside Marissa’s bed. Both very common and both in her system, but only in trace amounts. No where near the amount that should show up if she swallowed the entire prescription at once.

Peter looks at a picture of a medicine cabinet from Ross’s apartment containing only a half-full bottle of aspirin, a box of decongestant, floss, toothpaste, and vitamins.

ALICE JENNINGS
(continuing)
Marissa didn’t stay at the apartment much, so there wasn’t much there. I also found trace amounts of cold capsules and aspirin, probably those from her medicine cabinet. The amounts of scripts and the over-the-counter drugs found certainly weren’t enough to even make her ill, let alone kill her. But, she was pumped full of morphine.

ADAM PETRELLI
Street buy, maybe?

ALICE JENNINGS
Not unless you know where you can buy enough to kill a horse. I’m searching for an injection site because it’d be the most likely path.

ADAM PETRELLI
There weren’t any needles found in the apartment.

ALICE JENNINGS
No, there weren’t. And, the most significant finding I wanted to be sure you knew about is this.

Alice pulls the eyelid downward and a sticky mass begins to string from the eye to the lid.

ALICE JENNINGS
(continuing)
Glue. Her eyes were glued shut. I took a sample and it’s the same glue anybody can buy anywhere. Nothing unique about it.

ADAM PETRELLI
The dead can’t glue their eyes shut.

ALICE JENNINGS
She was still alive when this was done to her. (show them Ross’s wrist) And, here, (focuses the exam light on the wrist) you can see some faint bruising where she was tied up. Same marks are around the ankles. From the looks of it, I’d say it was some type of fabric, something soft.

ADAM PETRELLI
Ties her down, glues her eyes shut, and then shoots her up with morphine?

ALICE JENNINGS
I know. Doesn’t make sense to me either. I’ve never seen anything like it. But, so far, that’s the only scenario that makes sense.

PETER RICHARDS
And, nobody saw anyone coming or going from Ross’s apartment.

INT. OUSIDE INNER CITY CATHOLIC CHURCH DAY
Adam (driver’s side) and Peter get out of the car and walk up toward a large catholic church. The doors to the church are open.

ADAM
Father Emerson’s been here forever. He helped set up a basketball league for some of the kids around the neighborhood, try and keep them out of trouble and off the streets. After a couple years, he even managed to get some of the parents involved as coaches. I’m hoping he’s able to help Vera Gunn and the kids.

INT. INSIDE INNER CITY CATHOLIC CHURCH DAY
Father Emerson is near the front of the church dusting the pews. SISTER ABIGAIL (wearing cleaning gloves) is washing the stained glass windows on the side of the church. STRING, a lanky, young man is sweeping the center aisle near the doors. Adam and Peter walk in.

ADAM PETRELLI
(quietly) Hey, String, how you doing?

STRING
Detective Adam Petrelli, well I ain’t seen you in a long time.

ADAM PETRELLI
Yeah, I’m glad to see you’re still here helping out Father Emerson.

STRING
Oh, yeah, he’s helped me out a lot. I ain’t got in no more trouble, Detective. None at all.

ADAM PETRELLI
I’m proud of you, String. Look, I want you to meet a new detective that’s gonna be working ‘round here, Detective Peter Richards.

STRING
(to Peter) Detective.

PETER PETRELLI
Hi, String.

ADAM PETRELLI
I gotta have a word with Father Emerson for a minute, so why don’t you two get to know each other. I want you to help him out if he needs it, now, String.

STRING
Yes, sir.

ADAM PETRELLI
(walking toward Father Emerson, calls out) Father!

FATHER EMERSON
(calls from a distance) Adam!

STRING
I guess if Adam’s here, somebody must be in trouble or somethin’.

PETER RICHARDS
He’s just checking to see if the church has any help they can offer a family.

STRING
That’s just like Adam. Adam’s good ‘bout getting’ things started, you know. He helped me get off the streets ‘cause I didn’t have nowheres to go after my mama kicked me out. It wasn’t her fault, you know, she just couldn’t afford me no more. He got me here volunteering at the church and he and Father Emerson helped get me into a program where I’m learnin’ to read.

PETER RICHARDS
Sounds like things are looking up for you.

STRING
Oh, yeah. Things are lots better.

Adam and Father Emerson walk toward Peter and String.

FATHER EMERSON
(quietly) But, I’m sure we can find some resources somewhere.

ADAM PETRELLI
I know they’ll appreciate it. (to String) So, String, what you think of Detective Richards here?

STRING
He seems like a good man.

FATHER EMERSON
And, I’ll have you know that String has been doing a wonderful job helping around the church and staying out of trouble.

ADAM PETRELLI
Way to go! Yeah (laughs) the first time I met String, he was in a bit of trouble.

STRING
Yeah, I was stealing stuff. But, I have seen the error of my ways and I don’t do that stuff no more.

ADAM PETRELLI
There was a little TV repair shop that was always getting broke in to, so it was just another theft case when I first got the call. But, what surprised me was when I arrived on the scene and ol’ String here had a tv on a rolling cart, rolling it down the middle of fourth street. (laughs) That was a first.

STRING
(to Peter) Yeah, I’d had a little too much to drink that night. But, I don’t drink no more either, Detective. You won’t get no trouble out of me.

PETER RICHARDS
Good to know, String.

INT. ADAM PETRELLI’S OFFICE DAY
Adam sits at his desk talking on the desk phone. Peter sits on the corner of Adam’s desk reviewing a file. Adam is drinking a cup of coffee while Peter is drinking an energy drink. Adam later calls the SWITCHBOARD LADY at Roosevelt Hospital.

ADAM PETRELLI
(to phone) Yeah, I understand. Just let me know when you know something. (pause) Okay, thanks. (puts the phone back in the receiver) (to Peter) They had to cover a car crash this morning, so they’re just now getting’ over to Ross’s apartment to reprint everything. See if there’s anything they missed. They’re gonna take the bedding into evidence, too. Alice wants to go over it with a fine tooth comb.

PETER RICHARDS
Well, the local computer spit out fourteen possible matches for the Rattler. Most of them because of a rattlesnake tattoo, but only two of them have nicknames listed as the Rattler and it looks like one of them died in a knife fight a few years ago.

ADAM PETRELLI
Could be a new kid on the scene. But, ask Joannie to find all the records on the other guy nicknamed the Rattler. Let’s see what we can find out.

PETER RICHARDS
Will do. (walks out of the office)

Adam flips through a rolodex.

ADAM PETRELLI
Morphine. Morphine. Where would someone get morphine? (dials the phone)

SWITCHBOARD LADY (V.O.)
(filtered)
Roosevelt Hospital. How may I help you?

ADAM PETRELLI
(tapping his fingers on the desk) Hospital pharmacy, please.

INT. RESTAURANT NIGHT
Adam and Talia are at a semi-fancy restaurant. The WAITER is leaving their table and the two sip from their wine glasses.

ADAM PETRELLI
(hands Talia a gift box) This is for you. I meant to give it to you last night. I didn’t just get it today. I promise.

TALIA PETRELLI
(opens the box and removes a gold charm bracelet)
It’s very nice, Adam. Thank you. (kisses him)

ADAM PETRELLI
I’m just trying to make up for last night, you know.

TALIA PETRELLI
I know.

ADAM PETRELLI
I picked the charms out myself. One for each year we’ve been married. (puts the bracelet on Talia) See the number ten for this anniversary and the number one for the first. Then the wine glass for that trip to Napa for our second anniversary and the sun for the trip to the beach on our third. You know where we’ve been. I just wanted you to know that I remembered.

TALIA PETRELLI
I’ve always known you remembered. You can be a sentimental ol’ fooL on occasion, you know.

ADAM PETRELLI
Those are good memories, aren’t they?

TALIA PETRELLI
Yes. And, there’ll be more to come because as absent as you can be from time to time, I’m not going anywhere.

ADAM PETRELLI
That’s good to know ‘cause I was a little worried about that, you know, after last night.

TALIA PETRELLI
I know why the job’s so important to you, Adam. I know you don’t work all those hours just to avoid me. (admires the bracelet) And, thank you again.

ADAM PETRELLI
So, uh, I guess I’m a little rusty at this. What are we supposed to talk about?

TALIA PETRELLI
I’ll actually keep it in familiar territory. A friend of yours came down to the center today. Vera Gunn. Father Emerson referred her. He said he talked to Vera and he thought some of our services might be a good thing for her.

ADAM PETRELLI
Oh yeah?

TALIA PETRELLI
She seems open to it. Her first appointment is next week. We’re going to be working with her and Connie and the baby in their home, making regular visits.

ADAM PETRELLI
That’s good. You gonna be the one working with her?

TALIA PETRELLI
Um-hum. Father Emerson’s worked today on getting them some extra groceries, clothes, that sort of thing. I’ll be doing some basic counseling, parenting skills, help relieve some of the stress, keep their eyes open to all of their options. I’ll know more about what they specifically need once I’m in there and can evaluate the situation a little more.

ADAM PETRELLI
They need out of the neighborhood.

TALIA PETRELLI
You can’t save everybody, Adam.

ADAM PETRELLI
(takes a sip of wine) I wonder if this place sells good old-fashioned beer?

TALIA PETRELLI
Probably. In a glass.

ADAM PETRELLI
Um. You know, as I recall, you were trying to save the world when I first met you. You’d just started working down at the center back then.

TALIA PETRELLI
But, I learned that no one can save the world. You just do all you can. Hope for the best.(pause)I called Alex and Jade today. I invited them over for dinner Saturday night. Jade still wants you to meet her new boyfriend.

ADAM PETRELLI
Saturday. Yeah, I’m supposed to be off Saturday.

TALIA PETRELLI
(leans toward him, gently, quietly, putting her hand on his arm) Plan on being off Saturday.

INT. PETRELLI BEDROOM NIGHT
Adam and Talia are sleeping when the phone rings. Adam, groggy, sits up and answers the phone while looking at the digital clock that reads 12:24 am.

ADAM PETRELLI
(quietly) Yeah? (turns on the light and squints at the brightness)(pause) Okay. I’m on my way.

Adam shuts off the phone, looks back to a sleeping Talia, and then gets out of bed.

INT. OUTSIDE 153 ELM LANE, LOWER-MIDDLE CLASS HOME NIGHT
The address is written on a mailbox near some flashing police lights. Two police cars are parked in the drive; one police car is parked near the mailbox and the ambulance is parked on the front lawn. All with their lights flashing. Officer Post is standing near the mailbox talking to Peter when Adam arrives, parking along the street.

OFFICER POST
That’s why we notified you and Adam.

Post and Peter see Adam driving up and walk to his door.

ADAM PETRELLI
(getting out) Post, Pete, what we got?

PETER RICHARDS
This one you’ll want to see for yourself.

They begin to walk to the house, but walk around back towards a basement entrance.

PETER RICHARDS
(continuing)
The coroner is inside examining the body now. The victim is twenty-seven year old Angela Clark. She’s a grad student, studying psych. Works over at Roosevelt Hospital as a tech. She rents the basement apartment from the Hopkins. They’re an elderly couple; seem nice enough. Just trying to keep the house by renting out the basement.

OFFICER POST
We’ve got the basement roped off. The Hopkins plan on staying at a motel for a few days ‘til we get everything we need here. Not to mention, they’re a little spooked right now. They’ve not seen anybody go in or out of that basement except for the Clark lady. And, they’ve never had any problems with her. But, when she didn’t show up for work and her supervisor couldn’t get hold of her, the Hopkins were called. When they couldn’t get her to answer any knocks, they took it upon themselves to go downstairs. They’re the ones that found the body and called us.

Just before they reach the basement entranceway in the back, Adam looks toward the back of the house. The house next door has a dog tied up in the back yard that is barking. Adam sees that the small backyard of the Hopkins home is in a subdivision so that it meets up with the backyard of another home across the lot. There are no fences, but there are a few trees. From his pocket, Post pulls three sets of gloves. He hands a pair to Peter and Adam, who put them on, and Post also puts on a pair.

OFFICER POST
(continuing)
Parker’s taking extensive photos of the inside and outside of the crime scene. And, Dr. Jennings is here, of course.

Adam, Peter, and Post go inside the small basement apartment.

INT. SMALL BASEMENT APT. AT 153 ELM LANE NIGHT
The apartment is a small basement with concrete walls. Upon entering, the bed is near the door, against the wall and facing a television set. A desk is also against the wall with a laptop, textbooks, and papers scattered across it. The apartment is neat and clean. A coffeemaker sits on the kitchen counter, plugged in, with a coffee mug sitting neatly upon a saucer next to the coffeemaker. The counters are clean and free of debris, except for a small vase of flowers near the sink. The sink is empty of dirty dishes except for another saucer and coffee mug. Officer Parker is taking photos of the scene, but is specifically taking a photo of the victim’s face when Adam walks in. Alice Jennings is standing over the body on the side opposite the door, making notes and studying the scene. Angela Clark’s body is on the bed, her eyes and lips are closed, she is dressed in plaid pajamas. To the right of the door is a wall having two windows. Both are open. Just beside the bed, in the corner near where Alice stands, is a bedside table which has a lamp, a small empty, clear glass, a remote control for the television, and a prescription bottle for Demerol. Adam, Peter, and Post walk in. Adam and Peter visually study the scene. Officer Perry is at the kitchen counter fingerprinting the cups and saucers.

ALICE JENNINGS
Thanks, Parker.

Parker steps away, past Adam, Peter, and Post and begins taking photos and measurements of the windows.

ADAM PETRELLI
The boys have filled me in a little bit, Alice. What have you found?

ALICE JENNINGS
Well, when I first got here, the scene reminded me of Marissa Ross, the apparent suicide, the open windows. I definitely want more testing on Angela Clark because, on a hunch, I lifted her eye lids to see if they were glued, and they’re not. But, then I noticed this.

Alice, Adam, Peter, and Post bend over the head of the body.

ALICE JENNINGS
(continuing)
At first, I thought it was cotton, (focuses a pen light on the ear nearest Adam) I’ll need to test to confirm, but it’s in both ears, and it looks like glue. It fills the outer opening of the ear, but I’ll have to get her to the lab to find out just what it is and how deep it goes. I found some very faint bruising around the wrists, but the ankles on this victim are noticeable bruised.

ADAM PETRELLI
Like she was tied up?

ALICE JENNINGS
That’d be a crime scene guess.

ADAM PETRELLI
How long do you think she’s been dead?

ALICE JENNINGS
I’d say less than twenty-four hours.

OFFICER POST
Perry’s fingerprinting everything.

PETER RICHARDS
The Hopkins say they’ve not heard any disturbances. Neighbors on this side of the house (points to the windows) are elderly, too. They haven’t come past this side of the house lately. They don’t get out much. No one realized the windows were open until the Hopkins came in.

ADAM PETRELLI
Have the Hopkins left at all in the past twenty-four?

PETER RICHARDS
They usually have lunch at the senior citizens center, stay for bingo or bridge, whatever they’ve got going that day. They’re usually gone for a few hours. They were back yesterday around five. Madelaine Williams, Angela Clark’s supervisor at Roosevelt, called the Hopkins around ten p.m., worried because she hadn’t been able to contact Angela and Angela hadn’t come in for her shift.

Adam walks over to Alice’s side of the bed and uses the pen light to check the ear nearest Alice. Then, he picks up the prescription bottle on the bedside table.

ALICE JENNINGS
Demerol. Powerful painkiller.

PETER RICHARDS
Mrs. Hopkins said that Clark was taking Demerol because of a broken arm. It didn’t heal properly and had to be re-broke so it could be fixed.

ALICE JENNINGS
It’s a likely story. I found the surgical scars on her left arm.

ADAM PETRELLI
You can be on Demerol and work as at tech at Roosevelt? (opens the bottle) It’s empty. (closes it again)

ALICE JENNINGS
Well, if the Hopkins told Peter that Angela was still functioning, either she had a strong tolerance for pain pills or she was only taking them randomly or maybe at night to help her sleep. You don’t actually find many people who take scripts as prescribed. They either start to feel better and stop. Or, they think more is better and overdose.

Adam looks out the window into the night.

ADAM PETRELLI
So, two murders, one has her eyes glued shut and one has her ears glued shut.

OFFICER PARKER
(taking pictures of the bed again) See no evil, hear no evil.

ADAM PETRELLI
(looks at Parker oddly) We need to search this place for photographs, letters, any sign that Angela Clark may have known or been connected to Marissa Ross. Or maybe they had someone in common. But, let’s get the basics first. Parker, you got pictures from every angle?

OFFICER PARKER
(snaps a photo) I do now, both before and after the body was examined.

ADAM PETRELLI
Perry?

OFFICER PERRY
Things like the glasses, the bottle, doorknob, all the significant items have been dusted, but I’ve still got a few more things to do.

ADAM PETRELLI
Okay.

ALICE JENNINGS
I’ve done all I can do here. I need to get her to the lab.

ADAM PETRELLI
Let’s get her out of here, then. If we’ve had two, we need to make this priority before there’s more.

Peter walks to Adam’s side of the bed. Alice walks out of the apartment.

PETER RICHARDS
If Parker’s on to something, we could have a serial killer on our hands, some religious nut who thinks he’s on a mission from God.

ADAM PETRELLI
Oh, you get those in California, too? (pause, looks out the window) I keep thinking about these windows being open.

PETER RICHARDS
We checked the thermostat. The basement had it’s own. And, it’s off. We can’t be sure that these windows were opened by the killer or if Clark just liked open windows.

ADAM petrelli
(to Perry) Perry, be sure to dust the thermostat. (to Peter) But, if they were opened by the killer, maybe it has some meaning behind it. Maybe it’s his way of saying he can see in. Or maybe he wants us to see him, like he wants us to admire his work or something. (to Perry) And, the window sills, Perry.

OFFICER PERRY
Already dusted them, Adam. Nothing but the girl’s prints. Same on the glass by the bed, both cups and both saucers, counters, bedside table, you name it. So far, only her prints are showing up.

ADAM PETRELLI
(to everyone) Okay, let’s just keep to the book. (to Peter) She’s just like Ross. We’ve got to figure out the connection between them. This isn’t random.

INT. HALLWAY OF CORONER’S OFFICE DAY
Peter and Adam walk down the hallway toward the coroner’s office. Adam is rubbing his eyes as if he’s tired. Peter is drinking a cup of coffee.

ADAM PETRELLI
So, anyway, she called me. Says she heard that the Rattler’s not always in town. Apparently, he travels or somethin’. But, Betty heard that he’s supposed to be bringin’ in a shipment this weekend.

PETER RICHARDS
(jokingly) So, you’re trying to tell me we’ll be working this weekend.

ADAM PETRELLI
(laughs) Yeah, but don’t we work every weekend? I notified DEA. They want to take the lead on this one. They’ve heard there was somebody new on the block that’s supposed to be landing some big deals, but they hadn’t found a lead as to who it was. They want to see if their guy is the Rattler or if he’s really just another small time dope dealer.

INT. INSIDE THE CORONER’S OFFICE DAY
Adam and Peter walk into the coroner’s office. Alice is writing notes on a chart while standing near Angela Clark’s body which is laid out on the slab.

ADAM PETRELLI
Good morning. Or afternoon.

ALICE JENNINGS
(smiles, teases) One day, Adam, you and Peter and I will whip this town into shape and make sure they know that any crime has to take place during office hours. (sees Peter’s cup) But, I see you’re partner there has already learned the primary food group for law enforcement.

PETER RICHARDS
Would that be the caffeine you’re referring to or the sugar rush?

ALICE JENNINGS
Caffeine, the drug of champions.

ADAM PETRELLI
So, did you find anything on Clark?

ALICE JENNINGS
A few surprises. But, I was able to confirm that it was glue filling her ears. Nothing unique about it, just like the Ross case. There’s enough glue in this victim’s ears that all hearing must have been stopped.

ADAM PETRELLI
While she was alive?

ALICE JENNINGS
Yeah. And, another thing. You remember how Marissa Ross had empty prescription bottles by her bed, but that wasn’t what killed her. Well, Angela Clark had an empty Demerol bottle by her bed and trace amounts in her system, not enough to even imply she was overdosing let alone enough to kill her. But, like Ross, Angela Clark was pumped full of morphine. That’s what killed her.

ADAM PETRELLI
Did you ever find an injection location on Ross?

ALICE JENNINGS
No. Still looking, though, in-between other cases. I did, however, find finger impressions, no prints, just slight impressions (cuffs her mouth momentarily) where a hand would have covered Ross’s mouth. Found the same thing on Clark. Neither is very significant, though, like the killer didn’t have much strength or didn’t need it. But, back to the injection site, we found insulin and diabetic needles in Angela Clark’s basement apartment. Finding an injection site on her that can be connected specifically to a killer and not her own insulin injections will be difficult.

PETER RICHARDS
You said you found a few surprises.

ALICE JENNINGS
Oh, yeah. The z-pack and the Hydros we found in Marissa Ross’s apartment. Well, Angela Clark didn’t have scripts for those, just for the empty Demerol bottle. But, when Angela Clark’s garbage was examined, there were loose pills, no bottles to go with them, just pills, from a z-pack and Hydros.

ADAM PETRELLI
Say about a bottle full?

ALICE JENNINGS
Um-hum. Both victims had the same type of bruising to the wrists and ankles, but Angela Clark’s was much more significant on the ankles.

PETER RICHARDS
We didn’t find any pieces that looked like anything to tie someone up with. No sex toys. Nothing. So, the killer must have taken it with him (pause) or her.

ADAM PETRELLI
He’s precise. He’s planned this. He knows exactly how to get to these women, kill them, get out, and not leave a print behind. He knows exactly what he’s gonna need to get the job done before he ever goes in.

PETER RICHARDS
And, not cause a disturbance.

ADAM PETRELLI
I’ve been thinking about that. It could be that this is someone they know, someone that they’d trust enough to let in to their home. And, then, Alice, is it possible, that he could inject them with the morphine so fast, kind of like a stabbing, but the morphine would take effect quickly enough that they wouldn’t scream or cause a disturbance, maybe even fight back? But, then, why tie them up? Why the glue while they’re still alive?

ALICE JENNINGS
Given the amounts of morphine in each girl’s system. It is possible, especially with the bruising along the lower face, that they were injected before they even realized it. The killer could have prevented them from screaming until the morphine took effect. But, given those amounts, that wouldn’t be very long.

PETER RICHARDS
A minute or two?

ALICE JENNINGS
Less than a minute before losing consciousness. Of course, we’re assuming that the entire amount of morphine in their system was given in one dose.

ADAM PETRELLI
And, no signs of sexual assault?

ALICE JENNINGS
None. Both women were clothed. No signs of sexual assault. No signs of physical assault in locations other than the ankles and wrists where it appears they were tied up.

ADAM PETRELLI
Why tie them up? They had to be given the morphine before they were tied up, or there would have been signs of struggle. Why tie them up after their sedated?

PETER RICHARDS
There wouldn’t be any point to it. Maybe it has some religious significance.

ADAM PETRELLI
And, why take the pills and leave empty bottles? Surely, the killer realized that it wouldn’t take long to figure out that it wasn’t suicide?

PETER RICHARDS
Why plant the pills in the second victim’s apartment?

ADAM PETRELLI
He wants us to know they’re connected.

ALICE JENNINGS
Did you find anything?

ADAM PETRELLI
(shakes his head ‘no’) After the body was transported to the lab and the evidence was collected, Peter and I looked through every drawer, every cabinet. Found nothin’ that even made a reference to Marissa Ross. Went over to the Ross apartment this morning couldn’t find any connection to Clark.

PETER RICHARDS
We’ve made our way through neighbors, co-workers and the Hopkins couple again, but no one seems to know any connection between Ross and Clark.

ADAM PETRELLI
We’re gonna talk to Ross’s parents again this afternoon; see if they’ve ever heard of Angela Clark.

ALICE JENNINGS
And, the morphine? That’s a drug pharmacists keep an eye on.

ADAM PETRELLI
I can’t find a single pharmacy or hospital that’s missing morphine. No reported thefts. And, the only guy that I know street deals the stuff has been in jail for the past year.

ALICE JENNINGS
I remember reading about that in the paper when it happened. There is another possibility. Hospice. Home health care. Patients who are dying but want to die at home usually have some type of home health care nurse who at least make regular home visits. Then, when it gets closer to the end, they often have an around-the-clock nurse in the home. But, some of them are on morphine. And, it’s the home health aids that have the supply.

ADAM PETRELLI
So, if the patient’s family was responsible for administering the morphine, we could have somebody out there that stored it up instead of administering it.

PETER RICHARDS
Maybe it’s not the patient’s family hording the morphine, but the in-home provider. Multiple patients, multiple prescriptions, it could add up fast. How many at-home patients in this area do you think would be prescribed morphine?

ALICE JENNINGS
Quite a few, probably hundreds. When a patient’s health has reached the point-of-no-return, it’s morphine doctors often choose just to keep the patient comfortable in their final days.

INT. OUTSIDE LOKI RESIDENCE DAY
The Loki home is an old, tiny run-down lower class home, but the lawn is mowed and a small, rusty older model white Beetle car sits in the short drive. An old, rusty push mower sits neatly at the corner of the house. There are tall rose bushes in front of the front window that are tended well. On the mailbox attached to the wall beside the front door is the name LOKI. Through the front window, VERBAL LOKI, a thin, lanky, unconfident man of about 20, is helping his mother, PATRICIA LOKI sit up in a hospital style bed by using the electric control, but rearranging the pillow behind his mother’s neck as she rises. The windows are open.

INT. INSIDE THE LOKI RESIDENCE LIVING ROOM DAY
The living room appears like a hospital room. The hospital bed is situated near a wall so that Patricia can see the roses and some life outside the home. An IV pole stands beside the hospital be with, a clear bag dripping through tubes that is attached to her arm. Patricia wears an oxygen tube beneath her nose that is hooked up to a tall canister standing in the corner near the window. A small, old and worn, loveseat is against the wall facing the window, but is obscured by the hospital bed. The room is very small. There is a card-playing-size table in the corner furthest from the window which holds fifteen prescription bottles, a phone, a list of emergency numbers, a thermometer, a blood pressure cuff, and a container of ice water (condensation has wet the table). There is a rolling table that fits over the hospital bed that contains three more prescription bottles, a small cup with handles and a straw, and uneaten fresh, small bowl of broth with a spoon. The room is primarily lit by the open windows, but the paneled walls are decorated with bright, cheery, large photographs and paintings of roses, and several crucifixes and a painting of the Lord’s Supper. The loveseat has an old ragged quilt folded and sitting at one end. Patricia’s bed is clean, her sheets are bright and white. At the end of the bed is a neatly folded pink bedspread. Verbal is adjusting his mother’s pillow.

VERBAL LOKI
Are you comfortable, Ma?

PATRICIA LOKI
(very weak) Yes. (takes a deep breath) I can see my roses now. (takes a deep breath) You’ve done well with them, Verbal.

VERBAL LOKI
Thanks, Ma. I just take care of them the way you taught me. That fertilizer trick you mentioned this past spring really made a difference. The flowers seem bigger, even brighter than last year.

Patricia slightly shakes her head yes and, with tears swelling, tries to lift her hand toward her water cup. Verbal notices and helps her lift her hand to the cup and then supports her hand and the cup as she takes a sip and then leans her head back as if it exhausted her.

VERBAL LOKI
(continuing)
I wish you’d try and eat something, Ma. It’s chicken broth, your favorite. Not too many spices, just a little salt. I made it myself.

PATRICIA LOKI
(takes a deep breath) It hurts too much to eat. (takes a deep breath) I’ll try later.

Patricia takes another sip of water and then, with Verbal supporting her hand and cup, lowers it slowly to the table, then drops her hand to her side. Verbal appears worried.

PATRICIA LOKI
(continuing)
(takes a deep breath) You’ve been a good son, Verbal. Taking care of me (takes a deep breath) and the house. (takes two shallow breaths)

Verbal appears stressed, but tries to hide it from his mother. He takes hold of her hand.

VERBAL LOKI
Don’t talk like that, Ma. This is just another bad spell. You’ll get through it. But, you’ve got to eat. You’ve got to keep up your strength so you can get better. Then, we can take care of the roses together, just like we did when I was kid. Do you remember? You’d let me help even though I did more harm than good. You can look back through the old photo albums and instantly tell which rose bushes you pruned and which ones I whacked away at, thinking I was doing a good job.

PATRICIA LOKI
(smiles, takes a deep breath) You always were a good helper. Always willing to help. (takes three shallow breaths) Especially after your father left. (takes a deep breath) You really took his place around here. (takes one shallow breath)

VERBAL LOKI
Well, I was only nine. I don’t know how much help I was. But, I tried. I remember trying to fix a few things so you wouldn’t have to pay somebody to do it, but I just broke them even more. I never was much of a maintenance man.

PATRICIA LOKI
(takes a deep breath) You did fine, son. You did fine.

INT. ADAM’S OFFICE DAY
Adam and Peter sit at their desks typing. Talia rushes in.

TALIA PETRELLI
(rushes to Adam, rattled) Adam, is it true? About Angela Clark?

ADAM PETRELLI
You knew Angela Clark?

TALIA PETRELLI
She did some volunteer work down at the center to support her graduate studies. The news is saying that she was murdered.

Adam stands, leads Talia toward his chair, Talia sits, and Adam sits on his desk facing her.

ADAM PETRELLI
(clears his throat) Let’s just calm down a minute.

TALIA PETRELLI
Adam, tell me if it’s true. Is that what you got called out on last night? The news is reporting that her body was found last night. They mentioned your name.

ADAM PETRELLI
I didn’t know it had hit the news already. Peter and me have been working the case.

TALIA PETRELLI
What happened to her?

ADAM PETRELLI
Talia, it’s still under investigation. You know there’s a lot I can’t tell you right now.

TALIA PETRELLI
(angry)Don’t give me that, Adam Petrelli.

ADAM PETRELLI
Uh, Pete, can you go get Talia something to drink, coffee or something.

PETER RICHARDS
(standing) Sure.

ADAM PETRELLI
Oh, Peter Richards, this is my wife, Talia. Talia, Peter.

PETER RICHARDS
What would you like to drink, Mrs. Petrelli?

TALIA PETRELLI
(frustrated) I don’t want anything to drink. Thank you.

PETER RICHARDS
(begins to leave) I think I’ll just give you two a few moments. (leaves, shuts the door)

ADAM PETRELLI
(exhales) Okay, yes, Angela Clark was found murdered last night. Peter and I are trying to figure it out. We don’t know yet who did it.

TALIA PETRELLI
There’s all sorts of rumors going ‘round. Some are saying it was murder, some suicide, some are saying it was a drug overdose.

ADAM PETRELLI
We know it was a murder. We don’t suspect a drug overdose. That’s about all I can tell you, Talia. But, it might help us if you could tell us whatever you knew about her. Who did she hang with? Where? What type of person was she? Anything, at this point, could help us figure this out.

TALIA PETRELLI
(calmly again) (pause) I didn’t know her that well, but she was assigned to help me with the Gunn family. (struggling for what to say) Uh, I don’t know. She was friendly, intelligent, her reports were thorough. She was good at working with juvenile offenders; you know, kids headed down the wrong path. They seemed to listen to her for some reason. I always knew her to be organized and efficient, dependable. Uh, seemed to know way more about coffee than need be. Hurt her arm, had surgery. Uh, big baseball fan. She said she’d take her texts to the games sometimes so she could study and catch a game at the same time. Said she caught a game ever chance she could, played too on some community team, uh, the Pigeons. I think that’s how she said she broke her arm. (pause) Any help?

ADAM PETRELLI
Nothing we didn’t already know already. Did Angela ever mention a friend named Marissa Ross?

TALIA PETRELLI
Not that I recall. But, like I said, I didn’t know her that well. Marissa’s a pretty name and not very common. I think I’d remember if I’d heard her mention it. Why?

ADAM PETRELLI
Uh (scratches his head) just wondered.

TALIA PETRELLI
Adam Petrelli, you’re not the only one with instincts. I know when you’re not telling me something.

ADAM PETRELLI
It’s just a name that’s come up that we need to know about.

TALIA PETRELLI
A suspect?

ADAM PETRELLI
Uh, no. But, it is someone we need to know about. Maybe you can ask around at the center. See if anyone else has heard that name.

INT. INSIDE OF ADAM’S CAR DAY
Adam (driver’s seat) and Peter are sitting on an inner city street, waiting for Ms. Janis to walk by. Adam and Peter are both drinking coffee. Adam is rubbing his eyes as if he’s tired.

PETER RICHARDS
Think anything will come of it?

ADAM PETRELLI
Too soon to tell. DEA’s good at what they do. If they need our help, they’ll ask for it. We just need to stick to the book so that nothin’s thrown out of court later on. But, Agent Wilson seems to think that it’s the same Rattler and they think this shipment coming is worth several mill.

PETER RICHARDS
I’d kind of like to be in on it.

ADAM PETRELLI
(smiles) Don’t we have enough dealers to deal with? (swallows his last drink of coffee)

Ms. Janis walks around the corner on the opposite side of the street, toward Adam, with her shopping cart, humming a cheery tune.

ADAM PETRELLI
There she is. She seems fine. There’s a little good news today.

Adam and Peter get out of the car and walk toward Ms. Janis.

ADAM PETRELLI
(continuing)
Sometimes she talks about herself in the third person. Okay? (jogs to Ms. Janis and walks alongside her) Ms. Janis, do you remember me?

MS. JANIS
Of course I do, Adrian.

ADAM PETRELLI
(smiling, lifts his shoulders to Peter) Uh, yes, ma’am. I’d like you meet a new detective that’s gonna be workin’ ‘round this neighborhood. This is Peter Richards.

MS. JANIS
(stops and studies Peter) Oh, hello, Peter. Folks ‘round here just call me Janis.

PETER RICHARDS
Well, it’s nice to meet you. I’ve heard a lot of nice things about you.

MS. JANIS
Well, I just try to make my rounds every day. Get some exercise for me and old Arthur. (giggles)

ADAM PETRELLI
And, how is Arthur today, Ms. Janis?

MS. JANIS
He’s okay today. Good weather helps, you know.

ADAM PETRELLI
Yes, ma’am, it sure does. Well, I know sometimes you have things to report to me. Have you heard anything me or Peter needs to know about?

MS. JANIS
No, no, everything’s been nice and quiet lately. Um-hum. (to Peter) I guess Alex (pats Adam’s arm) has run all the bad guys out of town. (giggles)

ADAM PETRELLI
Not quite, Ms. Janis. We still got a few more rule breakers out there.

MS. JANIS
Like the good book says, there’s a time for everything and their time is gonna come.

INT. ROSS HOME LIVING ROOM NIGHT
RUTH ROSS and MARTIN ROSS have a small, modest home, and they welcome Peter and Adam at the door. The door enters into the living room, decorated with Marissa’s photographs of third world countries. Framed photographs of Marissa throughout the years now sit everywhere in the room there is available space. A pile of unframed photos of Marissa sits on the coffee table in front of the couch. Peter sits on the couch. Adam walks about the room, studying the photos. Martin sits on the couch beside Peter. Ruth leaves the living room, returns with two hard backed chairs, and places them across from the couch, sitting in one.

RUTH ROSS
(holding the door open) Please, come in.

ADAM PETRELLI
Thank you, Ms. Ross.

PETER RICHARDS
Thank you.

RUTH ROSS
(closes the door) I’ll get some more chairs. (leaves the room)

ADAM PETRELLI
We know this is a difficult time. We appreciate you talkin’ with us.

MARTIN ROSS
We just don’t know what else to say. Believe me, if we had any idea who would have done this to our little girl, we’d tell you. (sits and motions Peter to sit)

PETER RICHARDS
We understand that, Mr. Ross.

ADAM PETRELLI
She must have really enjoyed photography.

MARTIN ROSS
She traveled the world. We were so proud of her. We don’t usually have this many pictures of her but it just makes us feel like she’s here with us. And, some of them we’ve been going through to choose which ones to display at the funeral.

Ruth brings in the chairs and sits in one.

RUTH ROSS
She wasn’t much for having her picture taken. She always preferred to be behind the camera. I was surprised when we were going through the old photos and found so many. (sorts through the pile on the coffee table with her hand) Would anyone like some coffee?

PETER RICHARDS
None for me, thank you.

ADAM PETRELLI
No, ma’am. I’m fine. (picks up a photo near a lamp of recent photo of Marissa and her parents)

RUTH ROSS
(notices the picture) That was just a couple of months ago, at our anniversary party.

ADAM PETRELLI
(returns the picture)Looks like a real nice family. (takes a seat near Ruth)

MARTIN ROSS
Marissa was a special child. We almost lost her before she was born. But, she fought her way into this world, and she loved taking pictures of it.

PETER RICHARDS
(to Ruth, motioning to the pile on the coffee table) May I?

RUTH ROSS
Oh, sure.

Peter begins to sort through the pile, pictures of Marissa at all ages.

ADAM PETRELLI
Mr. and Mrs. Ross, I know you don’t like to hear questions like this, but was there anyone Marissa had problems with? Anyone that might want to hurt her?

MARTIN ROSS
No.

RUTH ROSS
She wasn’t the type of person to have enemies.

MARTIN ROSS
Marissa had a temper on her, but nothing that would get her killed.

RUTH ROSS
Marissa always had friends. She didn’t like causing trouble.

MARTIN ROSS
We thought maybe somebody at work was jealous of her. Why else would anyone want to kill her? Marissa was just doing contract work for Travel Far, but she mentioned a few weeks ago that they were negotiating a permanent position. That’s the only reason we could think of.

PETER RICHARDS
Did she have many friends outside of work?

RUTH ROSS
Not so much anymore. She traveled so much, it was hard for her to stay in touch with everybody. When she’d speak about her friends, they were usually other photographers or people at the magazine, people who traveled like she did.

ADAM PETRELLI
Did she ever know anyone by the name of Angela Clark?

MARTIN ROSS
I don’t recall the name.

RUTH ROSS
No, me either.

Peter continues sorting through the photographs until he finds one of Marissa as a teenager with her jeans rolled up wading in a lake with a silver fishing pole.

PETER RICHARDS
What is this? (hands the photo to Martin)

MARTIN ROSS
(laughs) Do you remember that, Ruth? (hands the photo to Ruth) Oh, Marissa must have been about fifteen or sixteen then. We’d been through a tough year and I thought we’d take something of a vacation. So, we all went camping.

RUTH ROSS
We had no idea what we were doing. None of us had ever been camping before. It’s hard to tell in this picture, but Marissa’s holding a silver fishing rod. Somewhere in this mess is another picture because Marissa actually caught something. We didn’t know how to clean a fish so we just threw it back after we took the picture. (she begins sorting through the pile)

As she sorts through the pile, a photo of three girls skirts off to the side of the pile. Adam sees it and picks it up. The three girls are standing on the porch in front of the Ross door with their arms around each other and big smiles on their faces. The photo is of Marissa Ross, Angela Clark, and Martika Hanson. Adam studies it. He then hands it to Peter who also studies it.

ADAM PETRELLI
Mr. Ross, that picture Peter has nw, that’s Marissa isn’t it?

MARTIN ROSS
(is shown the photo by Peter) Yes, that’s Marissa. She was sixteen. I remember because that was taken right before we left on vacation.

PETER RICHARDS
(points to Angela) This girl, who is she?

MARTIN ROSS
Oh, goodness, I don’t remember. (takes the photo) Hum. Those three used to hang out together a lot way back then. (hands the picture to Ruth)

RUTH ROSS
(looks at the photo) No, I don’t remember a name. But, I remember the faces. They were high school friends, but I don’t think they stayed in contact after that. There was Marissa, of course. And, (pause) Word, one of them was called Word because she was always learning some big word. But, I don’t remember which one. And, the other, oh, dear, what was it? It was a strange name, one I’d never heard before. I had trouble remembering it then, too. It was like Marsha, but it was a strange name.

ADAM PETRELLI
They went to school together?

RUTH ROSS
Yes. Until this picture was taken. They were in the same grade until this picture. The next school year, they were in different schools.

ADAM PETRELLI
Ma’am, do you happen to have her old high school yearbooks?

INT. ADAM’S OFFICE NIGHT
Peter is typing on the computer urgently. An old yearbook rests open on his desk. Adam sits at his desk also typing urgently. Officer Post walks in quickly to the middle of the room.

OFFICER POST
No Martika Hanson listed and the phone company’s computers are down for maintenance.

ADAM PETRELLI
I’m not showing any Martika Hanson on the arrest records and I’ve looked up ever misspelling I can think of. Peter?

PETER RICHARDS
Computer’s still searching.

ADAM PETRELLI
We’re gonna find this girl tonight if we have to wake up everybody in town. This Martika Hanson is probably the next victim. We need to get to her before the killer does.

OFFICER POST
What if instead of the victim, she is the killer?

ADAM PETRELLI
We’ll look into that too. But, first we have to find her.

Adam and Post go stand behind Peter, looking at the computer.

PETER RICHARDS
Got it. DMV has only one Martika Hanson, and she’s at…

Adam begins writing down the address.

PETER RICHARDS
(continuing)
126 Lee Street.

ADAM PETRELLI
Let’s go.

The three begin leaving quickly.

INT. OUTSIDE 126 LEE STREET NIGHT
This is a small, older duplex apartment with carports in back. The unit number is in on the door. Adam (driving) and Peter pull up quickly in Adam’s car, parking haphazardly in front of the small home. Officer Post pulls up in squad car with lights flashing, parking near Adam. Adam and Peter go to the front door and begin knocking urgently. Post goes around to see if there is a back door. There is no porch light on. All three have lit flashlights. While there, an OLD LADY (MS. DICKENS) comes out of the adjoining duplex unit.

OFFICER POST
(jogging) I’ll check the back. (heads to the back of the unit)

ADAM PETRELLI
(banging on the door, yelling) Ms. Hanson. It’s the police. Open up.

Peter continues to knock, yell, as Adam uses the light to check the windows, but finds them closed and with curtains covering them.

Post is heard from a distance calling out and knocking on the back door.

OFFICER POST (V.O.)
(from a distance)
Ms. Hanson. NYPD, Ms. Hanson.

PETER RICHARDS
(banging, yelling) Ms. Hanson. This is Detective Richards and Detective Petrelli of the NYPD. It’s urgent. We need you to open up. (pause) Ms. Hanson.

Adam bangs on the front windows.

ADAM PETRELLI
Ms. Hanson.

Post comes from around the back.

OFFICER POST
There’s no car in the carport. I’m not getting any response ‘round back.

The living room light of the adjoining unit comes on, followed by the porch light. Ms. Dickens peaks out her front curtain. Adam sees this and goes to Ms. Dicken’s window.

ADAM PETRELLI
Hello, ma’am. (holds up his badge to the window) I’m Detective Adam Petrelli, NYPD. You can call in my badge number if you need verification. I’m here with Detective Peter Richards and Officer Post. We need to speak to your neighbor, Martika Hanson. It’s an emergency, ma’am. Do you know where she is?

Ms. Dickens opens her front door slowly, but stands just inside as she speaks to them in her old tattered robe and hairnet.

ADAM PETRELLI
(stepping closer to the door) Uh, would you happen to know where Ms. Hanson is? It’s urgent that we speak to her right away.

MS. DICKENS
She’s not in any trouble is she?

ADAM PETRELLI
We’re trying to keep her out of some trouble. When was the last time you saw her?

MS. DICKENS
Martika? Oh, just a couple of days ago. She picked up my newspaper and brought it to me. I have trouble getting out sometimes.

OFFICER POST
Do you know if she’s home?

MS. DICKENS
Oh, I don’t know.

OFFICER POST
Does she still drive the old chevy?

MS. DICKENS
Oh, that thing’s been in the shop for a couple of weeks. Martika’s been having to catch rides to work. I think she had borrowed someone’s car last week or so.

ADAM PETRELLI
Is she still using a borrowed car?

MS. DICKENS
Oh, I think she gave it back last week or so. I saw her taking a taxi to work the other morning. But, I don’t recall seeing her since then.

PETER RICHARDS
Have you noticed anyone else coming or going from her apartment?

MS. DICKENS
Oh, I don’t know. I usually keep my curtains closed. Keep my nose in my own business, you know.

ADAM PETRELLI
Have you heard any disturbances from Ms. Hanson’s apartment?

MS. DICKENS
Oh, no. Martika’s never been one to have wild parties or anything like that. Most of us ‘round here are older. We wouldn’t take to a lot of noise.

ADAM PETRELLI
Where does Ms. Hanson work?

MS. DICKENS
Oh, she waitresses down at Stage’s Café and, when she can get a part, she does some acting, just little parts here and there. She wants to be an actress.

ADAM PETRELLI
Peter?

PETER RICHARDS
(taking out his phone) On it. (walks away)

ADAM PETRELLI
What was your name, ma’am?

PETER RICHARDS (V.O.)
(in the distance)
Yes, I need the number for Stages Café.

MS. DICKENS
Dickens. Elma Dickens.

ADAM PETRELLI
Well, thank you for your help, Ms. Dickens. You wouldn’t happen to know if she takes acting classes or if she’s gotten a role lately? Where it might be?

MS. DICKENS
Oh, no. When I last talked to her, she was looking for a role again.

ADAM PETRELLI
Does she have any family ‘round here?

MS. DICKENS
Oh, I think she mentioned that her mother’s still alive. But, I don’t know where she lives. I don’t think they’re that close. Martika says her mother drank a lot when Martika was young. Martika said she was messed up on drugs and alcohol, when she was younger, but I think she stopped all that.

OFFICER POST
She going to AA or anything?

PETER RICHARDS
(nearing)
(to the phone) Thank you. (shuts off phone)

Adam looks to Peter. Peter shakes his head no.

MS. DICKENS
She’s sure does. Down there at Father Emerson’s church, I think.

INT. DOORWAY INNER CITY CATHOLIC CHURCH NIGHT
Adam, Peter, and Post walk into the catholic church. Father Emerson and String are near the entranceway. The church is well lit.

ADAM PETRELLI
Father Emerson, oh good, I was afraid I’d have to wake you up.

FATHER EMERSON
Bingo ran a bit long tonight.

STRING
Father Emerson let me draw the balls from the little cage and call out the numbers. I thought ol’ Ms. Watson was gonna have a heart attack or something when she won.

FATHER EMERSON
We don’t play for money, but it’s still exciting for the parishioners to win.

ADAM PETRELLI
Yeah, uh, Father Emerson, have you seen Martika Hanson?

FATHER EMERSON
No, actually she drops by here a couple times a week, depending on her work schedule. I haven’t seen her at all this week. Is there a problem?

ADAM PETRELLI
We just need to talk to her. Has she been coming to AA regularly?

FATHER EMERSON
Uh, you do realize that AA participants is a private matter? It’s one thing if they reveal their participation, but it’s really not my place…

ADAM PETRELLI
We have to talk to her. It’s urgent. It could be a matter of life or death and we can’t find her. Are you still holding the AA meetings here?

FATHER EMERSON
(quietly) We are. Myself or Sister Abigail usually lead the meetings, depending on our schedules. Martika usually comes twice a week, but I haven’t seen her this week and I’ve been leading the meetings this week.

STRING
Hey, Adam, are you working on that sticky fingers case?

ADAM PETRELLI
The what?

FATHER EMERSON
That’s what some of the parishioners are calling the case where the glue has been used.

ADAM PETRELLI
Uh, yeah, String, we’re all working on it.

STRING
You think when you find him that there might be a big shootout like in the movies?

ADAM PETRELLI
Hope it doesn’t come to that, String. But, I’ll do what I have to do.

STRING
(to Peter) You know Adam, here, got shot once chasing down a thief. (reassuringly) Uh, it wasn’t me.

ADAM PETRELLI
You know the rules, String.

STRING
Can’t fire unless fired upon. It’s in the book.

ADAM PETRELLI
And, you gotta go by the book.

STRING
Yeah, you gotta go by the book.

FATHER EMERSON
(jokingly) That’s what I always say. (more serious) If I see Martika, should I tell her to contact you?

ADAM PETRELLI
That’d be great, Father. Thanks.

INT. OUTSIDE INNER CITY CATHOLIC CHURCH NIGHT
Adam, Peter, and Post walk out to their cars.

OFFICER POST
So, what’s next?

ADAM PETRELLI
We see if Cap McGuff has gotten hold of a judge who’ll give us that warrant to get into Hanson’s house tonight.

PETER RICHARDS
Perry and Parker are still at the precinct pulling their hair out trying to find some connection between these women other than an old photograph that nobody remembers.

OFFICER POST
I still don’t see the common denominator. These girls haven’t seen each other since high school. They don’t run in the same circles, don’t have the same friends, they’re not even in the same profession. Why these three particular women?

PETER RICHARDS
They don’t even look the same. If we could just find Martika Hanson, maybe she could shed some light on all of this. Maybe Captain McGuff will get that warrant pretty soon.

ADAM PETRELLI
Yeah, well, my instincts are kickin’ in and I don’t like what they’re tellin’ me.

INT. INSIDE LOKI LIVING ROOM NIGHT
Patricia is having difficulty breathing in her bed. The curtains are now closed. NURSE FRANCIS HIGGINS (about 30 years old) is by Patricia’s bed on the side furthest from the window. Verbal is standing by the bed on the side nearest the window. The room is dimly lit, but the lamp is on. Francis is taking Patricia’s blood pressure and temperature. Patricia is quietly groaning and grimaces from time to time.

VERBAL LOKI
I’m sorry to call you so late, Francis, but I just didn’t know what else to do. Her sleep is restless when she actually can sleep. When she’s awake, she grimacing in pain. I’ve given her as much of the pain medication as I’m allowed to. I just don’t know what else to do.

FRANCIS HIGGINS
(quietly, calmly) Verbal, your mother has COPD and cancer. Either one is a difficult condition by itself. You have to come to terms with the possibility that she’s nearing the end.

VERBAL LOKI
(begins to tear) What do I do? She needs more medicine to stop the pain.

FRANCIS HIGGINS
I’ll increase her morphine again. (attaches another bag to the IV pole and connects it to the tubing going to Patricia’s arm) But, keeping her comfortable is about all we can do. (pause) Are you keeping the windows open to allow some fresh air to circulate?

VERBAL LOKI
Everyday except for the hottest part of the afternoon. I turn the air on then so it’s easier for her to breathe. She prefers the fresh air, though, and being able to see her roses.

FRANCIS HIGGINS
You look exhausted. Have you rested any since the few hours I was here last night? When was the last time you slept?

VERBAL LOKI
I don’t know. I’ve been camping out on the loveseat so I can hear if Ma has trouble breathing or something. She barely ate today. She tried to take a spoonful of broth, but she said it hurt her stomach and she wouldn’t eat anymore. She drank a little bit of water today, but not much.

FRANCIS HIGGINS
I’ll add some sustenance to her IV again. If she’s not getting enough calories on her own, we’ll have to. Otherwise, well…

VERBAL LOKI
She’ll starve to death.

FRANCIS HIGGINS
Right, Verbal. (pause) Why don’t you go get some sleep. I’ll stay here for a while with your mother.

VERBAL LOKI
Oh, I don’t know, no I really shouldn’t.

FRANCIS HIGGINS
It’ll be okay. I’ll call you if there’s any change.

Verbal looks to his mother with regret.

FRANCIS HIGGINS
(continuing)
You’ve spent your whole life taking care of her, haven’t you?

Verbal shakes his head yes.

VERBAL LOKI
We’ve taken care of each other, I guess. I’ve never really known much of anything else. Wouldn’t know what to do without her.

FRANCIS HIGGINS
Go get some rest, Verbal. I’ll look after your Ma for a few hours.

INT. OUTSIDE MARTIKA HANSON’S DUPLEX (126 LEE ST.) NIGHT
Adam is at the door, and knocks on the door three times. Peter is trying to see in the window, but nothing has changed.

ADAM PETRELLI
Ms. Hanson.

Peter shakes his head no to Adam as Post comes from around back.

OFFICER POST
Still no car back there and I can’t get an answer. But the back windows are open.

ADAM PETRELLI
Well, let’s do it then. (Adam tries the knob, finds it locked, then he backs up from the door, draws his gun, and then kicks in the door)

INT. INSIDE MARTIKA HANSON’S DUPLEX (126 LEE ST.) NIGHT
The apartment is dark. Adam enters first, then Peter, then Post. All three have their guns drawn and flashlights lit. As Adam calls out Martika’s name, he searches for a light, finds a switch near the door, and turns it on. The duplex is small, but decorated with posters of early Hollywood movie stars and promotional posters for classic movies. The little bit of furniture fills the small living area and each piece is covered with matching slipcovers.

ADAM PETRELLI
Ms. Hanson. Martika Hanson. This is Detective Adam Petrelli, NYPD. I’m here with two additional officers, Richards and Post. Ms. Hanson, if you’re here, we need you to respond.

INT. MARTIKA HANSON’S KITCHEN NIGHT
Adam walks into the kitchen, turns on the light, sees the back door and an empty, older model kitchen too small for a kitchen table. The curtains cover the small kitchen window, but they are open as is the window. Adam tries the back door, and it is locked.

INT. MARTIKA HANSON’S BATHROOM NIGHT
Peter opens a closed door just off the living room, turns on the light, and finds a small empty bathroom. The hand towel is not on the rack, but thrown over the corner of the sink.

INT. MARTIKA HANSON’S BEDROOM NIGHT
Post opens another closed door just off the living room and finds the bedroom. He turns on the light and finds Martika Hanson’s corpse lying on the bed. The room is decorated with more movie posters and a double bed that takes up most of the room. A small chest of drawers sits facing the bed. There is no window in the room. Post slides open the closet door, finds it empty, and returns his gun to the holster. On the floor by the bed is a small glass partially filled with whiskey and an empty whiskey bottle on the floor. Pills are scattered about the bottle and the floor.

OFFICER POST
(calls out) Adam. She’s in the bedroom.

Peter runs in first, then Adam. They see Martika dead.

ADAM PETRELLI
(hits the wall hard with his fist) We’re too late. (hits the wall again)

PETER RICHARDS
I’ll notify the coroner.

INT. OUTSIDE OF MARTIKA HANSON’S DUPLEX SUNRISE
Peter stands near Adam’s car and three squad cars. Peter is speaking to Coroner Alice Jennings. As Peter and Alice begin to walk in, Ms. Elma Dickens is peaking out from behind the curtains of her living room window.

ALICE JENNINGS
Twenty-seven seems to be the magic number. But, what’s the connection other than the picture?

PETER RICHARDS
We’re still working on that.

INT. INSIDE MARTIKA HANSON’S BEDROOM SUNRISE
Parker (in gloves) takes a final shot of the body and one final shot of the pills/bottle/glass and then leaves the room as Alice and Peter enter. Perry (in gloves) then picks up the glass, the bottle, and the pills, and puts each in its own evidence bag, seals each bag and leaves the room. Adam (in gloves) is sorting through the items in the chest of drawers. Alice and Peter walk in, both putting on gloves, as they squeeze past Adam to the opposite side of the body than that of Perry.

ALICE JENNINGS
Pills again, hum.

Perry hands her the evidence bag with the pills.

ALICE JENNINGS
(continuing)
Demerol. (she hands the bag back)

Perry then leaves the room.

ALICE JENNINGS
(continuing)
What are the odds that she has no whiskey in her system?

PETER RICHARDS
She’s been going to AA and NA for years. Father Emerson says she’s been clean.

Adam finds nothing significant in the drawers, and slams the last one, then joins Peter and Alice.
Alice examines the ears, the eyes, and then the mouth, finding a sticky gooey substance stringing from the mouth.

ADAM PETRELLI
There’s got to be something we’re missing.

ALICE JENNINGS
The mouth is glued shut.

PETER RICHARDS
It’d be kind of hard to swallow anything that way. It makes sense, though.

ALICE JENNINGS
How do you figure that?

PETER RICHARDS
There were three girls in the picture. One can no longer see any evil. One can’t hear any evil anymore. And, now, one can’t speak any evil.

ALICE JENNINGS
(repulsed) Now, I know why I don’t have your job.

ADAM PETRELLI
How long you think she’s been dead, Alice?

ALICE JENNINGS
(bending over the body) I’d say less than twenty-four. (thinking, stands up again) Marissa Ross, the first victim. She was a photographer, wasn’t she?

PETER RICHARDS
Yeah.

ALICE JENNINGS
And, now she can no longer see any evil?

ADAM PETRELLI
And, the second victim was Angela Clark, nursing tech, psychology grad student who helped in a counseling center, had her ears clogged up so she couldn’t hear any evil.

PETER RICHARDS
And, now Martika Hanson, the waitress-slash-actress can’t speak any more evil.

ADAM PETRELLI
And, they just happened to have been friends in high school.

ALICE JENNINGS
(examining the body) I’m not seeing any bruising on the wrists or ankles, but I may find traces when I get her to the lab. (pause) Why weren’t they friends after high school?

ADAM PETRELLI
They finished high school at different schools. (pause) So, whoever they have in common had to have known them before they split.

ALICE JENNINGS
Are you finished with the body here? I’d really prefer to get her to the lab.

ADAM PETRELLI
Go ahead. We’ll get you copies of Parker’s pix of the scene.

ALICE JENNINGS
Let me guess. No other prints on the glass but Martika Hanson’s.

ADAM PETRELLI
That’d be right.

INT. OUTSIDE OF MARTIKA HANSON’S DUPLEX MORNING
Adam and Peter walk out, grimacing and then shielding their eyes when the sun hits their eyes. Officer John Reed tapes off the front door with crime scene tape after Adam and Peter walk out. Then, Officer Reed walks to Adam and Peter near their car. Only Adam’s car and one squad car remain.

ADAM PETRELLI
Oh, gee, I didn’t realize it was mornin’.

PETER RICHARDS
Sun was already rising when Alice got here.

ADAM PETRELLI
John, did you find anything out here?

OFFICER JOHN REED
Nothin’. No foot prints, no clues, nothin’. And, the only disturbance the neighbors reported was the NYPD trying to get in to the apartment.

ADAM PETRELLI
Visitors?

OFFICER JOHN REED
Nobody’s seen anyone come or go for a couple days. They didn’t even see Hanson come back home after she went in for the day shift a couple days ago.

ADAM PETRELLI
Uh, a neighbor said she had a mother.

OFFICER JOHN REED
Joannie’s still trying to track her down. Then, Joannie and the precinct shrink are gonna go give her the news.

ADAM PETRELLI
Okay, thanks. Good job, John. (pats John on the shoulder)

OFFICER JOHN REED
Perry drove Post home so he could get some sleep. You two look like you could use it, too.

PETER RICHARDS
Yeah. It’s been a long couple of days.

ADAM PETRELLI
John, why don’t you drive Peter home. I’m sure Sara would like to see him for a change.

PETER RICHARDS
And, you? Even Adam Petrelli can’t function without sleep. Isn’t that something like what you told me on my first day? Better to have people working who are alert and focused.

ADAM PETRELLI
I just have a stop I need to make before I head home.

INT. LOKI LIVING ROOM MORNING
Verbal Loki stands silently in tears against the living room wall. Francis Higgins and a DOCTOR and TWO NURSES stand around Patricia Loki’s bed. Nurse #1 is charting information. Nurse # 2 is straightening the sheet around Patricia’s lower body and beginning to raise the blanket over the lower half of the body. The curtains are open and the window is open. Francis is removing the oxygen tubing and the IV tubing from Patricia’s body. The doctor is checking the pulse and the heartbeat with a stethoscope. They pay no attention to Verbal.

DOCTOR
You say it began during the night?

FRANCIS HIGGINS
It became really noticeable about two a.m. I did what I could to keep her comfortable.

DOCTOR
Time of death, nine-twenty-three a.m.

NURSE #1
Cause, doctor?

DOCTOR
COPD, cancer.

FRANCIS HIGGINS
Her body just gave out.

Nurse #2 then raises the sheet over Patricia’s head, followed by raising the blanket over Patricia’s head.
Verbal lowers down the wall toward the floor until he sits in the fetal position, but the medical workers don’t notice him.

INT. HALLWAY OUTSIDE ADAM’S OFFICE MORNING
Adam walks down the hallway toward his office, appearing exhausted and drinking coffee. His jacket and tie are off and his top two buttons are unbuttoned. Joannie catches up with him in the hall and they talk as they walk.

JOANNIE
Adam, we’re on our way to give the Hanson mom the news about her kid. Any thing you’d like us to ask her while we’re there?

ADAM PETRELLI
(stopping just inside his office door) Just find out whatever you can about Martika Hanson’s involvement with Clark and the Ross girl.

JOANNIE
Will do. (walks on down the hall)

INT. INSIDE ADAM’S OFFICE MORNING
Adam walks into his office, sits at his desk, swallows a large gulp of coffee and then turns his attention to the computer. Adam is rubbing his eyes and face as if he’s trying to stay awake.

ADAM PETRELLI
What’s the connection, girls?

Adam opens two files on his desk marked Marissa Ross and Angela Clark. He removes the photo of the corpse from each and studies them. He then takes another drink of coffee.

ADAM PETRELLI
(continuing)
Why now? Why all of you at twenty-seven? What’s so significant about the wrists and ankles?

Captain McGuff walks in, walks to Adam’s desk. Their exchange is heated.

CAPTAIN MCGUFF
I heard you were here. You need to be home, asleep.

ADAM PETRELLI
We’re runnin’ out of time, Cap.

CAPTAIN MCGUFF
You’ve been up for two days at least, Petrelli. I want you out of here and at home. You’re not gonna do these girls or any other victims any good trying to solve a case like this. You need sleep to think straight.

ADAM PETRELLI
I know I can figure this out if I just have a little more time, Cap. And, you know what they say about murders and forty-eight hours.

CAPTAIN MCGUFF
I also know what they say about sleep deprivation. (calmly, quietly) Adam, sometimes, you just have the lay the case on the desk and go home.

ADAM PETRELLI
(calmer, but still frustrated) I won’t take long, Cap. There’s just something about this Adrienne girl, I mean Angela, it’s, uh…

CAPTAIN MCGUFF
(calmly, quietly) Go home, Adam. Solving this case won’t bring your sister back. (closes the files) Now, go home. Get some sleep. Then, come back and do what you gotta do, do it right, and do it well.

INT. ADAM’S HOUSE KITCHEN DAY
Adam walks into an empty kitchen and finds a note on the table which says: I LOVE YOU and is signed TALIA.

INT. ADAM’S HOUSE BEDROOM DAY
Adam walks into his bedroom, taking off his gun as he walks. He puts the holster on the bedside table beside the alarm clock that reads eleven-fifty-eight, sits on the side of the bed, lies backward, and falls asleep. The curtains are open and the daylight is shining in.

ADAM PETRELLI(V.O.)
(muffled, as a dream)
Hey, get away from my sister. (the sound of running followed by the sound of punching) (the sounds of sirens, followed by the sound of several people running)

ANONYMOUS COP #1 (V.O.)
(muffled, as a dream)
Get him.

ANONYMOUS MAN (V.O.)
(muffled, as a dream)
He attacked me!

ANONYMOUS COP #2(V.O.)
(muffled, as a dream)
She’s dead.

ADAM PETRELLI(V.O.)
(muffled, as a dream)
(crying) Adrienne, no. Adrienne.

Adam wakes up started.

ADAM PETRELLI
What?

Adam looks to the sun coming in the open window and then to the clock that now reads twelve-thirty p.m., grabs his gun and runs out of the room.

INT. LOKI LIVING ROOM DAY
Patricia’s bed is empty and Verbal is alone in the room. The bed is now free of linens and the IV pole and oxygen tank are gone. Tearfully, Verbal removes the drinking glass, three prescriptions, and a medical bracelet from the rolling tray, putting them on the table with the multiple bottles of prescriptions, lamp, BP cuff, etc. He slowly wipes down the rolling tray, as he cries, folds it down and rolls it against the wall. Verbal then closes the window and then, crying, slowly closes the curtains.

INT. CORONER’S OFFICE DAY
Alice pulls a sheet up over Martika Hanson’s body and is removing her gloves as Captain McGuff walks in.

ALICE JENNINGS
Ian, I don’t see you much ‘round here.

CAPTAIN MCGUFF
Just trying to do what I can to help out the team. A bunch of them have been working some long hours. Petrelli and Richards have been working the case with the serial murders. Thought I’d get whatever information you had so far while they got some rest.

ALICE JENNINGS
Pretty much the same story as the first two victims. This (motions to the body and lowers the sheet) is Martika Hanson. We found Demerol pills on the floor by her bed, but none in her system. But the Demerol pills at the Clark murder were missing. So, my guess is that Ross was murdered first, followed by Clark, and now Hanson. This one’s pumped full of morphine just like the first two.

CAPTAIN MCGUFF
That’s the cause of death?

ALICE
Yes. And, I confirmed that it’s glue that was holding her mouth shut. Found a whiskey bottle by the bed, but none in her system. But, one of your guys found traces of whiskey in the bathroom sink.

CAPTAIN MCGUFF
Hum. Could’ve been poured down the drain.

ALICE JENNINGS
Hanson has slight bruising about the face, like her mouth was cuffed. But, there is something different about this victim. I can’t find any traces of bruising to the ankles or wrists.

CAPTAIN MCGUFF
The first two victims only had slight traces, didn’t they?

ALICE JENNINGS
True, but they were there.

CAPTAIN MCGUFF
Maybe this girl just doesn’t bruise as easily.

ALICE JENNINGS
That is a possibility, except for one thing.

Alice turns the body over part of the way toward her. McGuff goes to the other side of the body so that he can see. Alice lowers the sheet to reveal three large bruises covering most of the back.

ALICE JENNINGS
(continuing)
Hanson was hit hard to the back. At least three times. One of them fracturing the spine.

CAPTAIN MCGUFF
That’s a lot of anger.

ALICE JENNINGS
Um-hum. This one was definitely more violent than the other two.

CAPTAIN MCGUFF
The question is is it the last? (long exhale) So, no window in the bedroom to leave open, so he leaves open the kitchen window. He’s left prints on not a single thing, so he must have been wearing gloves when he got in. Hum. When he got in. All three women were murdered in their own homes, found in their own beds, and no one heard any disturbances and there were no signs of struggles, meaning either he surprised them very quickly, which I find highly unlikely, or they let him in. They let him in because it was someone they knew, someone they trusted or someone they thought they could trust.

ALICE JENNINGS
Adam thinks the murderer planned each one, that that’s how he managed not to leave any clues behind.

CAPTAIN MCUGUFF
I’d certainly agree with that.

ALICE JENNINGS
But, how is it possible that no one ever saw anyone coming or going from any of the crime scenes?

CAPTAIN MCGUFF
One thing you learn in this job, Alice, is that people don’t always realize what they’re seeing. Ask five different people in a store that was robbed to describe the thief and you’ll get five different answers. If you’re at home and the mailman runs at eight every morning, then you no longer pay attention to the sound of footsteps on your front porch at eight in the morning. Your mind tells you it’s the mailman. No big deal. No threat to your safety. People tend to mind their own business, which just helps criminals become invisible. They’re not lying, exactly, when they say they didn’t see anybody, they’re just not paying attention. It’s like seeing a moving van backed up to a garage with the movers moving boxes and furniture from the house to the van. Your mind tells you somebody’s moving, not that it’s a gang of thieves robbing someone’s home.

ALICE JENNINGS
Invisible people. Interesting concept.

INT. OUTSIDE 81 SEVENTY AVENUE DAY
Francis Higgins stands by the front door of a small, rundown home. The mailbox beside the door reads 81 Seventy Avenue. A MIDDLE-AGED WOMAN (MS. TUCKER) answers the door. Francis looks up and down the street and sees the MAILMAN on his way toward a nearby house and a TEENAGER delivering papers and a WOMAN WALKING her dog.

MS. TUCKER
Yes?

FRANCIS HIGGINS
Ms. Tucker, hi, I’m Francis Higgins from Home Care. You called our office concerning your father.

MS. TUCKER
Oh, yes, please come in.

FRANCIS HIGGINS
(as she’s entering) I understand he has cancer.

Francis walks inside and Ms. Tucker shuts the door behind her. As the door closes a MAILMAN drops letters in the box and walks on.

INT. MIDDLE-CLASS HOME DAY
Vera Gunn knocks on the door of a middle-class home holding cleaning supplies. A YOUNG MOTHER holding a BABY answers the door.

YOUNG MOTHER
Ms. Gunn, whew, come on it. I’m sorry but the house is really a mess today.

Vera Gunn walks in the home.

INT. KITCHEN OF A MIDDLE-CLASS HOME DAY
Vera Gunn is on her hands and knees, wearing cleaning gloves and scrubbing the floor. A baby is heard crying in the background. Vera’s cell phone rings. She removes one of her gloves, removes her phone from her pocket, and answers.

VERA GUNN
(quietly) Hello. (pause) What do you want, Rattler? (pause) No, you ain’t seein’ that baby. (pause) I don’t care if it’s yours, you ain’t seeing’ that baby.

Vera ends the call and returns the phone to her pocket. She then reaches for the counter to support herself to stand, but draws her hand back shortly before she touches it, then she looks around the room as she puts her cleaning glove back on.

INT. INSIDE INNER CITY CATHOLIC CHURCH DAY
The church doors are open. Father Emerson and String are placing songbooks in the chairs in the choir loft.

FATHER EMERSON
Well, I’ll be taking some food over to the Gunn home later on. Why don’t you come with me? You’ll be helping me out and I’m sure Ms. Gunn and her family would like to meet you. It’d give you another chance to prove how far you’ve come. You could be a good example for the younger ones, prove that if you have made a mistake that you can turn it around.

STRING
I’d like that, Father Emerson. It just hurts my heart, you know, Father, ‘cause I know I ain’t done nothin’ but when people see me walkin’ down the street they look at me like I just stole somethin’.

FATHER EMERSON
Well, sometimes, it takes people a while to really see that someone has changed.

STRING
I’m startin’ to think there are people who don’t ever think people can change. You know, it’s like you mess up once and, and, that’s it. You don’t ever get a chance to change, you know. No second chances.

FATHER EMERSON
Maybe the important thing is that you know better. You know that you’ve changed. I know that you’ve changed.

STRING
Have people ever looked at you like that, Father Emerson? You know, like they didn’t want you around?

FATHER EMERSON
(giggles) String, I work for the church. When people see me walking down the street, they either ignore me all together or run and hide because they think I’ll ask them for money.

INT. ADAM’S OFFICE DAY
Peter walks in with Joannie. Adam is already sitting at his desk, but still looks exhausted. Peter is examining an open file as he walks in, but is surprised when he sees Adam.

PETER RICHARDS
Whoa. I got to sleep for a few hours, but you look like you haven’t had any.

ADAM PETRELLI
I got a little. We’re running out of time on this case. Evidence is deteriorating.

JOANNIE
Well, I ran in to Peter on his way in and I started telling him about what I found. After we gave the Hanson mom the news about her daughter this morning, we showed her the picture of the three girls. She started laughing. This is definitely not a woman who’ll ever win mother of the year. It turns out that the three girls didn’t go to the same school after that picture was taken because they were court ordered to attend separate schools. It was a deal that was cut. The girls ganged up on somebody, charges were pressed, but nothing was ever done to the girls except forcing them to attend separate schools. It took me a while to find the juvenile record. Martika was in all sorts of trouble in her teens, mostly related to drugs and alcohol. No trouble, though, since she hit nineteen or twenty. She cleaned up after that.

ADAM PETRELLI
So, these girls all ganged up on one person and they got away with it.

PETER RICHARDS
(hands Adam the file) Exactly. And, the attack was fairly violent. According to the report that was filed, Martika initiated the whole thing, planned it, and then during the attack was yelling what to do to the victim.

ADAM PETRELLI
Speak no evil.

JOANNIE
Right. And, our Ms. Ross, not quite the savior she could have been. She was the one who convinced the victim to come to the scene of the attack. There’s conflicting testimony as to whether or not she knew what would happen once they arrived. But, apparently, Marissa Ross stood back once the attack started. Marissa yelled for the others to stop, but didn’t actually do anything to cause it to stop.

ADAM PETRELLI
Marissa. (rubs his face) Oh, it was her eyes. See no evil. She saw the attack.

JOANNIE
And, Angela Clark, who had her ears filled with glue, was a participant. It was her and Martika who were the physical attackers. She did whatever Martika Hanson told her do.

PETER AND ADAM
Hear no evil.

JOANNIE
There was a lot of verbal abuse spewed out during the attack as well. But, the attack itself, well, the victim was hit, punched, and the hands and feet were tied to a chain link fence down by the river, and that’s where the victim was found the next day by police, still tied up.

ADAM PETRELLI
We need to find the whereabouts of the victim.

Captain McGuff walks in.

CAPTAIN MCGUFF
Done. Victim was nine years old at the time of the attack. He’s about twenty now. Name is Verbal Loki. His mother was Patricia, who just died after a three-year battle with cancer and other ailments. And, she was prescribed morphine.

ADAM PETRELLI
(rushes to stand) Let’s go talk to him.

Captain McGuff hands Peter a post-it note as Peter and Adam begin to leave.

CAPTAIN MCGUFF
You’ll find him at this address. (calls out) And, take a couple uniforms with you.

INT. LOKI RESIDENCE
Adam and Peter walk up toward the door. Adam motions Officer Perry and Officer Reed to go around to the back, which they do. Adam knocks on the door three times. The window and the curtains are closed. Adam is still rubbing his face as if he’s trying to stay awake.

ADAM PETRELLI
(after 3 knocks) Mr. Loki. This is Detective Adam Petrelli, NYPD. We need to talk to you, sir. (pause, knocks three more times) Mr. Loki, we need you to open up. (Adam tries the door knob, but it is locked) (pause) Mr. Loki, if you don’t open up I will have to kick the door in, sir.

Peter gives Adam a worried look.

PETER RICHARDS
(whispers) You can’t do that.

ADAM PETRELLI
I’m not letting him get away. (to the door) Alright, Mr. Loki, you have until the count of three to open this door. One, (pause) two, (pause) three (pause) (kicks in the door)

The door flies open, Adam and Peter raise their guns, and step inside. He sees Verbal lying dead on the hospital bed, a mostly empty bottle of water leaning from his hand and four open, empty pill bottles on the bed with him. Verbal has a small hand-written note beside him on the bed which says: NOTHING

ADAM PETRELLI
Check the rest of the house. See if there’s anyone else here.

Adam goes to the bed, checks Verbal’s pulse at the neck and then reads the note. Adam takes a radio out of his pocket.

ADAM PETRELLI
(to the radio) This is unit 4. We’re gonna need the coroner here.

DISPATCH (V.O.)
(filtered)
I’ll send one now.

Adam finds a wallet on the small table in the corner that houses the lamp and additional prescription bottles. Adam opens it and finds Verbal Loki’s driver’s license. Peter, Perry and Reed walk in.

PETER RICHARDS
There’s no one here.

ADAM PETRELLI
Well, this was Verbal Loki.

INT. OUTSIDE OF LOKI RESIDENCE DAY
Verbal Loki, covered with a sheet and on a gurney is placed in the back of an ambulance and then the ambulance leaves. Peter stands at the edge of the yard talking with the Loki neighbor, MONICA, about age 27.

PETER RICHARDS
Did he ever mention being the victim of an attack when he was younger?

MONICA
No, but I didn’t really talk to him that much. I didn’t know them that well. He was just so quiet, you know. Always took care of his mom. She was his life, really. Always taking her to the doctor. He was good about keeping the yard mowed and he kept those roses looking nice because it gave his mother something pretty to look at. At least, that’s what my father told me.

PETER RICHARDS
Did you see him come or go much, especially in the last week or so?

MONICA
No, he never went anywhere without his mother in tow. And, the last few months, I don’t know that I’ve seen him go anywhere at all. Home health would come and check on his mom, do the grocery shopping for him, that kind of stuff.

PETER RICHARDS
How long have you known the family?

MONICA
Oh, I’ve lived here most all my life. I didn’t really know them that well, though. She was always sickly and he, well, he just wasn’t very interesting. He just took care of her. Never went anywhere, never did anything. You know, the type who could walk right past you and you’d never know it. I never saw any company come or go except for the home health people. I usually did my best to avoid him, even when I was younger.

PETER RICHARDS
Avoid him? Did he ever try and hurt you?

MONICA
No, no, nothing like that. He just, you know, wasn’t my type.

PETER RICHARDS
Wasn’t your type (pause) of neighbor?

MONICA
He wasn’t the type of person I wanted to hang around. He was boring and he wasn’t very attractive, you know. He just, you know, wasn’t my type.

PETER RICHARDS
Uh-huh. Well, thank you, Monica.

Monica walks back to her home and Peter walks over to Officer Perry who is standing on the front porch.

OFFICER PERRY
Wasn’t her type, huh?

PETER RICHARDS
Yeah.

OFFICER PERRY
Well, I guess that could have saved her life or caused the death of three others.

Peter walks inside the Loki living room. The hospital bed is now empty. Parker, camera in hand, takes one final shot of the living room and then passes Peter as Peter walks in.

OFFICER PARKER
I got shots of the entire house, but Adam’s getting’ a little agitated.

Adam walks in the living room, removing his gloves.

ADAM PETRELLI
I don’t know what to say. You’ve been through here, I’ve been through here twice now. Parker, Reed, Perry, we’ve all been through here, all the trash, everything and there’s nothin’.

PETER RICHARDS
So, no gloves, no way to conceal fingerprints, nothing that could have been used to tie up the victims, and no morphine. Neighbor says she never saw him leave without his mother. And, there’s no pictures or information about the victims, no addresses scratched on paper, no names, no signs he was ever thinking about that attack. Maybe this isn’t our guy.

Perry walks in and listens to the conversation.

ADAM PETRELLI
We don’t have any other prospects. He could have used all the morphine or maybe home health took it with them after the mother passed.

PETER RICHARDS
But, there’s no signs of needles, even unused needles. And, all the windows in this place are shut.

ADAM PETRELLI
He could have thrown the needles into any trashcan in town. Same thing for whatever he used to tie them with. And, anybody can go in and buy medical gloves at any pharmacy. Loki could have thrown them away after the Hanson murder.

OFFICER PERRY
Did you ever think maybe this Loki guy wasn’t the only one this happened to? He was just the only one that reported it. Maybe these girls had another victim out there who just never told.

ADAM PETRELLI
With access to a substantial amount of morphine?

OFFICER PERRY
Just a thought.

PETER RICHARDS
We can keep working on it, but we may have to face the fact that we may never find who killed these girls.

INT. INSIDE ADAM’S CAR DAY
Peter is now driving and Adam is in the passenger seat.

ADAM PETRELLI
We need to go back over every interview, every detail. Take a picture of Loki to the neighbors and see if any of them recognize him.

PETER RICHARDS
We can check in to it, but we have no evidence and there’s no proof he was even leaving his house. Even the car hadn’t been moved in a while. The oil was dried up. He couldn’t have made it very far without setting the whole thing on fire.

ADAM PETRELLI
I..

DISPATCH (V.O.)
(filtered)
Dispatch to Unit Four.

PETER RICHARDS
(to radio) Go ahead Dispatch.

DISPATCH (V.O.)
(filtered)
A neighbor has reported an assault in progress at 423 Sixth Street, Apartment number 44.

ADAM PETRELLI
That’s Vera Gunn’s apartment.

PETER RICHARDS
Unit four, responding.

INT. OUTSIDE INNER CITY APARTMENT BUILDING DAY
Peter (driving) parks quickly in front of the building. At about the same time a squad car with sirens flashing parks quickly as well. Peter, Adam, and Officer John Reed get out of their cars and rush into the building.

INT. INSIDE INNER CITY APARTMENT BUILDING DAY
Peter, followed by Officer Reed, followed by Adam rush up a flight of stairs, the Rattler is going downstairs in a rush. Adam notices the Rattler’s tattoo of a rattlesnake on his arm. Rattler has blood on his shirt.

ADAM PETRELLI
Go check on Vera.

Adam then rushes back downstairs after Rattler.

INT. VERA GUNN’S APARTMENT DAY
Vera lies on the kitchen floor when Peter and Reed enter the apartment. They go beside her. Vera is beaten badly and her face is quite bloody. A baby is crying in the background.

PETER RICHARDS
(to his radio) We need an ambulance sent immediately to (fading) the residence of…

Peter stands and leaves the kitchen. As he does, he quickly passes a box of insulin and diabetic needles on the counter. Reed stays with Vera, supporting her head.

OFFICER REED
Just hang in there, Ms. Gunn. We’ve got help on the way.

VERA GUNN
(barely able to speak) Don’t let him get the baby. Don’t let him get the baby.

OFFICER REED
We’re gonna check on the baby too, Ms. Gunn. Don’t you worry now. Just try and be quiet until the ambulance gets here.

Reed, while supporting her head, looks up toward the counter and finds a towel. He takes the towel to blot some of the blood of Vera’s face. When the towel is removed, a pair of cleaning gloves is seen.

INT. INNER CITY STREET DAY
Adam chases Rattler down the street. On the way, Rattler kicks over a trashcan behind him. Adam jumps over the can as he runs.
Rattler turns right around a street corner. Seconds later, Adam follows and sees Rattler, several yards in front of him, run across the street and enter an abandoned building on the left. Adam follows Rattler into the building.

INT. INSIDE ABANDONED BUILDING DAY
Sirens are heard nearing as Adam slowly enters the building, draws his gun, and carefully looks around the abandoned building. Rattler is hiding behind a large support beam in the middle of the building. The building is dimly lit, but does have light coming through dusty windows.

ADAM PETRELLI
This is NYPD. Show yourself.

Behind the support beam, Rattler lifts his shirt a bit and pulls out a large knife.
Adam walks slowly, further entering the building.
Rattler turns his head from one side to the other and then dashes across the room toward a door on the far left.
Adam follows, yelling as he goes.

ADAM PETRELLI
Hold it!

Rattler runs through the door on the far left, making no attempt to close it. He then runs through a door on the immediate right, which he slams on his way through.
Adam follows Rattler, going through both doors.
Rattler is now in a darker room with fewer windows. Debris such as loose boards and plaster from a wall that has fallen cover the floor. As he crosses it, Rattler slips once, but makes his way across the debris until he hides behind another support beam on the opposite side of the room from the door. Rattler, breathless, looks to his right, but the next door is closed and is a good dash away from him and he sees a lock hanging above the knob preventing entry.
Adam enters the darkened room with the debris. He begins running across the debris, but stumbles several times.
He stands in the center of the room and searches for Rattler, but sees no one.

ADAM PETRELLI
Alright, this is enough games, Rattler. Give it up.

RATTLER
Man, I ain’t givin’ up nothin’. Feds couldn’t pin nothin’ on me and you can’t either, Petrelli. Yeah, I know who you are. I been keepin’ an eye on you. You ain’t nothin’ to be scared of.

ADAM PETRELLI
(looking around, breathless) Oh, you think so? (still looking) Well, then, why are you runnin’?

RATTLER
(pulls his knife from his waist to his side) (laughs) You better be careful with the Rattler now. Rattlers bite, you know.

ADAM PETRELLI
I’ll take my chances.

Adam’s eyes begin playing tricks on him, and he shakes his head and blinks his eyes as he sees a bloodied young teenage girl (ADRIENNE) suddenly appear and then disappear, lying on the debris.

ADAM PETRELLI
(quietly) Adrienne?

Adam then sees a MIDDLE-AGED-MAN running toward him who suddenly disappears.

RATTLER
Adrienne? (laughs) Who you think you talkin’ to?

ANONYMOUS COP #2 (V.O.)
(as if a dream) She’s dead.

Adam shakes his head again as if trying to shake away the voice and stay awake.

ADAM PETRELLI
I know who I’m talkin’ to. (pause) Now, come on out, Rattler, where I can see you.

RATTLER
(laughs) You don’t see the Rattler, Petrelli. The Rattler sees you, watching you, just waiting until the time is right to strike.

Rattler swallows hard as he raises his knife. The little bit of light from the window catches the blade. Rattler then quickly turns and faces Adam, rushing toward him with the knife. Adam’s gun is still drawn and he quickly fires. Rattler falls in a cloud of smoke.

INT. OUTSIDE INNER CITY CATHOLIC CHURCH DAY
Peter, String, and Adam sit on the curb talking. Peter is in his work suit, but Adam is dressed more casually. The three are drinking sodas.

PETER RICHARDS
Suspension, huh?

ADAM PETRELLI
Yeah, and some therapy to deal with my sister’s murder and my shaky marriage. (takes a drink) It was time for some time off. I felt it comin’ on.

PETER RICHARDS
Always be able to recognize burnout in yourself. Otherwise, you don’t think straight. You taught me that.

ADAM PETRELLI
Guess I should have taken my own advice. (pause) Ain’t that right, String?

STRING
But, Adam Petrelli, being the man that he is, has decided to spend some of his time off here at the church with me and Father Emerson helpin’ the neighborhood. He’s even gonna give a self-defense class here one night a week.

ADAM PETRELLI
Yeah, just wish those girls had had a little more self-defense. Wish we could have caught the guy who did that.

PETER RICHARDS
One thing you gotta learn about this job, not all the cases get solved.

INT. TUCKER HOME EVENING
Francis Higgins leans over MR. TUCKER’S hospital bed which is situated in a den. Francis is adjusting a wrist restraint as she puts the final one on Mr. Tucker. The restraint is connected to the hospital safety rail.

FRANCIS HIGGINS
Now, Mr. Tucker, we’ll take these off as soon as you stop trying to scratch and claw at your daughter. But, if you keep trying to get out of bed, I’ll have to put the ankle restraints on, too.

Ms. Tucker, tearfully, walks to the opposite side of the bed as Francis. Mr. Tucker, unable to speak, utters urgent, fearful sounds toward his daughter as she arrives.

MS. TUCKER
What about the pain he’s in? The morphine shot he’s had just doesn’t seem to be enough.

FRANCIS HIGGINS
The doctor’s prescribed a morphine IV for that. I’ll have that hooked up to him as soon as these restraints are done. Don’t you worry about anything, Ms. Tucker.

MS. TUCKER
I’m just so glad you’re here. Oh, (wipes away a tear) I’m sorry. You must think I’m so silly.

FRANCIS HIGGINS
(laughs gently) It’s okay. I’m here for the family as well as for your father. Why, before this is over, you’ll be telling your life story, talking to me like I’m your personal counselor. And, that’s okay. Just remember that I’m here to help with anything you need done and even the things you don’t even know you need done.

INT. OUTSIDE INNER CITY CATHOLIC CHURCH DAY
Peter, String, and Adam are sitting on the curb talking and drinking sodas.

STRING
So, you think the killins are over? There won’t be no more?

ADAM PETRELLI
No, I think that killer is dead and in his grave.

THE END



written by Debra Phillips


This is a work of fiction.