A/N: This is an original story and script idea, or least mostly original - after billions of hours spent watching crime dramas, I can't be too sure - All rights to the recognizable characters from the world of Law & Order: Criminal Intent belong to others. I mean no harm.
I started this about three years ago. Got stuck, put it away, forgot about it, thought I'd lost it when my computer crashed, was prompted to think about it after seeing a post on another site awhile back, found it - YEA! - and worked on it again. When I started this the old school time/place format still was still in use, and I'm going to go forward with it...Can't you almost hear the "Doink Doink"?
PLEASE R&R both story and script format idea - I was thinking of trying another - but I'm not sure it isn't confusing to write it out this way. Let me know what you think! THANKS everyone. :)
SCENE 1
INT. HOTEL ROOM
CLARIDGE HOUSE HOTEL, 7TH AVENUE.
APRIL 29th 12:30 pm
Scene opens with CSU photographer pulling back after taking several photos of the body of a young woman. Her nude body is lying face down. Her hair and upper body are covered in blood. Her head is turned so that the right side of her face is lying in the blood that has pooled around her head.
Detectives ALEX EAMES and ROBERT GOREN enter through the open door.
EAMES:
What have you got for us?
EAMES asks as GOREN kneels down next to the body.
CSU TECH:
Detectives, what we have so far is a Jane Doe victim. Best guess is she's been dead about eight hours, of course we'll be able to narrow that down during the full autopsy. Blunt force trauma to the head. No obvious sign of a murder weapon.
GOREN:
Her name is Sheila Larsen.
GOREN is still kneeling next to the body, but now his hand is raking through his hair.
EAMES:
You know her?
GOREN:
She's…. I used to date a friend of hers.
CSU TECH:
Signs of sexual activity. The bed has been used. Several towels also. Looks like they took showers after the fact.
Glancing back at GOREN before she asks the question…
EAMES:
DNA? Semen?
CSU TECH:
Doesn't look like it so far. The sheets haven't come up a positive. Maybe we can pull something from the towels.
GOREN:
If we're looking for her sex partner, we need to be looking for a woman. Sheila Larsen was gay.
ooOOoo
SCENE 2
INT CLARIDGE HOTEL, FRONT DESK
A dignified looking man wearing a name badge proclaiming him as MICHAEL ANDERSON - Front Desk Manager. He is in his late 40's is looking down at the computer screen in front of him as GOREN and EAMES wait. GOREN leans over the desk trying to get a glimpse of the screen for himself.
ANDERSON:
The room was reserved three days ago with a company credit card. Under the name of Sheila Larsen.
EAMES:
Does that give you the name of the company on the card?
ANDERSON:
Yes, it's Hazelhurst Productions. Brooklyn. But I don't have the street address.
GOREN sighs and nods his head.
GOREN:
I know where it is.
EAMES:
Thank you Mr. Anderson. If we have any more questions, we'll be in touch.
ooOOoo
Scene 3
INT OF CAR:
THE DETECTIVES ARE IN THEIR SUV STUCK IN TRAFFIC. EAMES IS DRIVING, TAPPING HER FINGERS ON THE STEERING WHEEL AS THE CAR COMES TO A COMPLETE STOP IN TRAFFIC. GOREN SITS SILENTLY, STARING OUT THE PASSENGER SIDE WINDOW.
EAMES:
Did you know her well?
GOREN:
Well enough. She was a good person. Very kind. But it's been over three years since I've seen her. A lot can change in that amount of time. She could have been mixed up in something…
PAUSE
GOREN:
Take the next exit off the freeway. Then turn right. It'll be on the left, about two blocks down.
EAMES:
How do you know where this Hazelhurst Productions is?
GOREN:
Sheila's partner…
Eames turns to face Goren
GOREN:
… her business partner is the woman I used to date. Allison… Allison Tyler.
ooOOoo
SCENE 4
HAZELHURST PRODUCTIONS
3657 DWYER, BROOKLYN,
APRIL 29TH 3:30 PM
THE RECEPTION AREA IS DECORATED WITH SEVERAL BLACK LEATHER SLING BACK CHAIRS, LOTS OF GLASS AND CROME ACCESSORIES. BEHIND THE HIGH FRONT DESK A YOUND WOMAN LOOKS UP AS THE TWO DETECTIVES ENTER. SHE'S SPEAKING INTO THE TELEPHONE HEADSET ATTACHED TO HER EAR. SHE SMILES AS THEY COME FORWARD.
The two detectives show their badges as they come forward.
GOREN:
We'd like to see Allison Tyler. Is she in?
RECEPTIONIST:
Yes, just… just one moment. Can I tell her what this is regarding? Your names please?
GOREN:
Detectives Eames and Goren.
RECEPTIONIST:
Does this have anything to do with Sheila? We…we haven't been able to find her all day and she missed an important meeting this …
The receptionist's voice slowly trails off as Eames looks over at Goren and then back at the receptionist.
EAMES:
Could you let Ms. Tyler know that we're here.
RECEPTIONIST:
Yes, of course.
The young woman punches in a number into the switchboard.
RECEPTIONIST:
Allison, there are two detectives out here who'd like to speak with you.
PAUSE AS THE RECEPTIONIST LISTENS TO HER HEADSET
RECEPTIONIST:
They haven't said.
PAUSE AS THE RECEPTIONIST LISTENS TO HER HEADSET
RECEPTIONIST:
Their names are Eames and Goren.
PAUSE AS THE RECEPTIONIST LISTENS TO HER HEADSET
RECEPTIONIST:
Um.. Yes.
Drawing out her reply, she looks up at Goren standing in front of her.
RECEPTIONIST:
OK…. (PAUSE) Allison said she'll meet you in the conference room. And that you should know where that is.
GOREN:
Yes, I do.
ooOOoo
Scene 5
INT- CONFERENCE ROOM - HAZELHURST PRODUCTIONS
EAMES AND GOREN ARE SEATED FACING THE DOOR AND WALL OF FROSTED WINDOWS FACING THE INTERIOR OF THE BUILDING. THEY CAN SEE THE SILHOUETTE OF A WOMAN APPROACHING THE DOOR. THE DOOR DOESN'T OPEN IMMEDIATELY. WHEN IT DOES A TALL WOMAN IN HER MID 30'S WALKS IN. SHE'S DRESSED IN SLIM BLACK PANTS, WHITE BUTTON DOWN BLOUSE WITH THE SLEEVES CASUALLY ROLLED UP. HER LONG BROWN HAIR IS PULLED BACK INTO A PONYTAIL SITTING LOW ON THE NAPE OF HER NECK.
She walks into the room and looks at the two detectives. Her arms wrap around her waist as she looks over at Goren.
ALLISON: (SOFTLY)
Just tell me. Just say it.
EAMES speaks up before GOREN can.
EAMES:
We're sorry to have to tell you that your partner was found dead earlier today. We're sorry for your loss.
ALLISON'S eyes fill with tears and she looks away, out the window overlooking a vacant lot. She nods her head. She walks over to the table and sits, raising a trembling hand to her lips, pressing hard.
GOREN leans forward and puts his hand on her one hand that rests on the table.
GOREN:
I'm so sorry Allison. I know how close you two were.
ALLISON looks down at GOREN'S hand on hers and then up into his face. She slowly nods, acknowledging his words.
ALLISON:
How? What happened?
EAMES:
She was found beaten to death at the Claridge Hotel in Manhattan. Is there anything you can tell us about why she'd be at the Claridge?
ALLISON:
I… I really don't know. Um… there isn't any business reason that she'd have gone there. It, it must have been personal, but she didn't mention anything to me about it.
EAMES:
Was she involved with anyone? Seeing someone new?
ALLISON:
Not that I know of. She broke up with her girlfriend several months ago and hasn't mentioned meeting anyone new. We've been working so hard the last month or so that I wouldn't think she'd have met anyone. But we haven't had the time or inclination to catch up with each others lives, even though we see each other almost everyday.
GOREN:
What have you been working on?
ALLISON:
We have a film that is almost finished that we're entering in the documentary competition at the Tribeca Film Festival and we're also negotiating a new distribution deal with Universal for several of our pictures.
GOREN:
What type of film? How's that going?
ALLISON:
It's a documentary about…
(looks uncomfortably at Detective Goren before continuing)
… three people living with schizophrenia. And what it's been like for their families.
EAMES glances over at GOREN and notes his frozen expression, sensing a stillness settle over her partner.
GOREN:
I'd like to see that.
ALLISON:
I… I'll see that you get an invitation to the premiere, if we get accepted into Tribeca.
(CONTINUING NERVOUSLY)
The film is coming together nicely and we'll have all the post-production work finished by the end of the month. The distribution deal is mostly being handled by our lawyers now. Sheila and I and Universal have agreed on all the particulars. Sheila was instrumental in hooking us up with the distributor. We should also be ready to sign that by the end of the month too.
GOREN nods and looks over at EAMES.
EAMES:
Well, congratulations. That would seem to be a big deal for you.
ALLISON:
It is. This is what we've been working towards for a long time. It's a big boost for the house.
EAMES:
So, you've been working on the film? And Sheila the distribution deal?
ALLISON: (NODDING)
Yes, mostly.
EAMES:
Can we see her office?
ALLISON:
Certainly. Would you like to do that now?
EAMES:
Yes, if it's convenient.
ALLISON:
Sure. I'll show you the way.
ooOOoo
SCENE 6
INT - HAZELHURST PRODUCTIONS
OUTSIDE SHEILA LARSEN'S OFFICE
The three leave the office and walk down the hall. ALLISON stops at a desk in front of a door marked SHEILA LARSEN.
ALLISON:
Mary, these officers are going to need full access to Sheila's files and her office. I trust that you'll help them with whatever they need.
MARY:
Then you still haven't heard from Sheila?
ALLISON:
These are detectives from the Major Case Squad, they're working this as a … a homicide case.
MARY:
Homicide. OHMIGOD.
ALLISON: (NODDING)
I'll be in my office. If I can help you with anything, just have Mary call me. Mary, if you could try to keep this quiet for now. I'm going to gather everyone together as soon as I can and make a formal announcement, before everyone goes home today.
MARY: (SHOCKED)
Sure, Allison. (PAUSE) If you'll follow me Detectives, I'll get you set up.
ooOOoo
SCENE 7
INT - HAZELHURST PRODUCTIONS
INSIDE SHEILA LARSEN'S OFFICE
EAMES:
I'm not seeing anything here. It all looks like straight forward business paperwork. I did find out who the lawyers are. Do you think Ms. Tyler will waive privilege so that they can talk to us?
GOREN:
Yeah, I'm not finding anything that could give us a starting point. It will look suspicious if she doesn't.
Eames walks over to a bookcase and finds a picture of Sheila Larsen and Allison Tyler
EAMES:
Is this awkward for you? Considering your history with Sheila's partner?
GOREN:
Sure, a little. Aren't most things a awkward for me anyway?
EAMES:
You've got a point.
ooOOoo
SCENE 8
ONE POLICE PLAZA
MEDICAL EXAMINERS OFFICE
APRIL 30TH 10:00AM
M.E. RODGERS IS COMPARING SLIDES UNDER A MICROSCOPE AS DETECTIVES EAMES AND GOREN WALK INTO THE EXAMINING ROOM. TURNING TO FACE THE DETECTIVES, SHE PICKS UP A FILE FOLDER AND HANDS IT TO EAMES.
RODGERS:
Take your pick Detectives. Do you want a death by blunt force trauma, barbiturate overdose or complications due to the AIDS virus?
EAMES:
She had AIDS?
RODGERS:
Tox reports came back with AZT and lexvira. This has been ongoing long-term treatment. It looks like it's been well-controlled for years, but she was no longer just hiv-positive, the virus had gone active. She was about to become a very sick young woman.
EAMES:
Would she have been aware of that?
RODGERS:
Depends on the last time she visited her doctor. My guess is yes.
GOREN:
What kind of barbiturates had she ingested?
RODGERS: (NODDING TO THE REPORT IN EAMES HAND)
Not ingested, but injected. Phenobarbital. I found two needle marks. One on the left buttock and the other behind the ear. One injection would have been more than enough to do the job. Two is just overkill.
EAMES:
And the blunt force trauma?
RODGERS:
Something rounded, but with a protrusion, I've never seen anything like it before. The center of the wound is more deeply indented than the edges which are curved. I'd say fairly heavy. Or swung with incredible force.
GOREN:
She was injected first. So… so that she'd be unconscious when she was beaten to death? Why the second injection?
EAMES:
Maybe the first one didn't act fast enough and she was fighting against her killer.
RODGERS:
I saw no real signs of a struggle. No skin, blood or fibers under her nails. Despite what the CSU tech said, signs of physical sexual activity are inconclusive. I understand that she was gay, so physical signs of activity aren't always present. Sheila Larsen was also six weeks pregnant.
ooOOoo
SCENE 9
APARTMENT BUILDING OF SHEILA LARSEN
3625 CENTRAL PARK WEST, APARTMENT 1208
APRIL 30th 1:15PM
GOREN AND EAMES STEP OFF THE ELEVATOR WITH THE BUILDING'S MANAGER. AS THEY WALK DOWN THE CORRIDOR, THE BUILDING MANAGER CASTS SEVERAL LOOKS BETWEEN THE TWO DETECTIVES.
BUILDING MANAGER:
Are you sure this is proper?
EAMES:
I'm sure Ms. Larson won't object.
GOREN:
Do you know of any visitors Ms. Larson may have had lately?
BUILDING MANAGER:
Well, I think she may have had a new boyfriend.
GOREN and EAMES exchange looks.
GOREN:
We hadn't heard about a boyfriend yet. Did you ever meet him?
BUILDING MANAGER:
No, not formally. But I did see him with Ms. Larsen on several occasions. And, well they seemed very friendly.
GOREN:
Ever hear his name?
BUILDING MANAGER:
No, not that I can recall.
EAMES:
How about a description?
BUILDING MANAGER:
Oh, let's see. Mid 30's, sandy brown hair, on the thin side, about as tall as you, Detective Goren.
They reach SHEILA LARSEN'S apartment, the building manager unlocks the door, and steps back to allow the detectives to enter. The man stays, shifting from side to side trying to see into the apartment.
EAMES:
We can handle it from here. Thank you.
EAMES pushes the door closed and exchanges a look with Goren as she shakes her head.
ooOOoo
SCENE 10
INT: APARTMENT OF SHEILA LARSEN
EAMES:
Do you think he wanted to help us with the search? My guess is that it wouldn't be the first time he's searched a tenant's apartment. For such a ritzy address, he seems like he'd be more at home as a flophouse manager.
GOREN:
Well, at least he's attentive enough to know about a boyfriend. And now we do too.
EAMES:
Did Sheila play for both teams? Or was he really just a friend, maybe her beard?
GOREN:
The Sheila I knew was a very friendly fun girl. She had a lot of friends – male and female, gay and straight. She was always very secure with who she was, she wasn't the type to need a beard.
GOREN walks over to the desk and pages through an open appointment book. Eames is shuffling through the stack of unopened mail they had brought up with them.
EAMES:
Just bills and advertisements. An invitation to a gallery opening in SoHo.
GOREN:
She had several appointments with a Roger Bly of Cascade Films. I thought Allison told us their deal was with Universal?
EAMES:
She did.
EAMES wanders out into the kitchen.
EAMES:
I think I just found the boyfriend. A picture of Sheila and a slim, tall sandy hair man in his mid 30's.
As EAMES walks out of the kitchen with the picture in hand, the two detectives turn back to the front door as they hear a key in the lock. Both reach for their guns.
The door opens and ALLISON TYLER enters.
GOREN:
Allison? What are you doing here?
ALLISON:
OH… you scared me. I … there should be a copy of the final version of the contract with Universal in Sheila's desk. I need to get it to our lawyers this afternoon. It wasn't at work, so I'd hoped it would be here. Her death has put the future of the movie in jeopardy and the lawyers are meeting to try and find a way out of this.
GOREN:
I'm sorry to hear that, Allison.
EAMES:
So, you have a key to Sheila's apartment? Have you been here since she was found?
ALLISON:
(looks perplexed at the questions)
Um, yes I have a key. I've had one for a long time. And no, I haven't been here since she was found. I called and spoke with your Captain Deakins and he said it shouldn't be a problem for me to come in and get it. The apartment wasn't part of the crime scene.
EAMES' cell phone rings. She reads the caller ID – it reads: DEAKINS
EAMES:
Yes, Captain. She's here now.
The room is quiet as EAMES listens.
EAMES:
I'll let him know. Thanks Captain.
GOREN:
Let me know what?
EAMES:
Ms. Larsen's doctor, Dr. Sorenson is back in town. He called Deakins and told the captain he'd be available to see us at our convenience. The Captain also apologized for not letting us know you were on your way down here.
ALLISON:
So, is it all right if I look for the contracts?
GOREN:
Yes. Sure. Let me ask you a question though.
GOREN reaches over and takes the photo of SHEILA and the unknown man and walks over to ALLISON.
GOREN:
Can you tell us who this man is?
Allison reaches out and takes the photo
ALLISON:
Oh, well, that's Mark. Mark Davis.
EAMES:
How long had Sheila and Mr. Davis been seeing each other?
ALLISON: (SHOCKED)
What? No… no they weren't. Mark and I …
Slowly ALLISON sinks onto the sofa as realization begins to dawn on her.
EAMES:
Well this photo does make it seem otherwise.
The photo shows SHEILA LARSEN and MARK DAVIS on a tropical beach gazing at each other.
GOREN:
How long have you and… Mark, been seeing each other? Did the three of you ever take a vacation together?
ALLISON: (SHAKING HER HEAD)
Mark and I have been together about a year. And no, the three of us never took a vacation together. I'm not much for vacations in the middle of a project, but that didn't stop Sheila, she took a trip to St. Barts about four months ago. And Mark… that's the same time that he had business meetings in Los Angeles.
PAUSE
ALLISON: (SADLY)
He… he didn't have meetings in Los Angeles, did he?
GOREN:
We… we're going to have to find out.
ALLISON reaches across GOREN for a pen and a piece of paper and writes…
ALLISON:
This is his work number and his cell. He works for Cascade Films.
Handing the sheet of paper to GOREN she sees the contract she'd stopped by to pick up.
ALLISON:
This… I think this is the paperwork I needed. Is it all right if I take it?
GOREN:
Here.
GOREN picks up the contract and hands it to ALLISON. With a nod, she turns and walks past EAMES and opens the door. Stopping in the doorway, she turns back to face the detectives, and looks closely at GOREN.
ALLISON:
I'd appreciate it if you could keep me informed about.. about the investigation.
GOREN:
Certainly.
Again, ALLISON nods and glances over to EAMES.
ALLISON:
Thank you. Thank you detectives.
Turning back she walks out of the apartment and quietly closes the door.
EAMES:
Well, I guess our next stop is Cascade Films.
When GOREN doesn't answer, EAMES takes a few steps closer to him…
EAMES:
Bobby? You… you really liked her didn't you?
GOREN:
I told you Eames, Sheila was a nice friendly girl.
EAMES:
I wasn't talking about Sheila Larsen.
GOREN:
You're right Eames, our next stop is Cascade Films.
GOREN picks up his notebook and starts for the door. When he opens the door, he turns to see EAMES standing where he left her.
GOREN:
Are you coming?
EAMES shrugs as she follows GOREN out of the apartment.
ooOOoo
SCENE 11
CASCADE FILMS
3515 34th STREET
APRIL 31st 10:30AM
A YOUNG RECEPTIONIST IS LEADING GOREN AND EAMES TO A CONFERENCE ROOM WHERE ROGER BLY AND ANOTHER MAN MARK DAVIS ARE IN THE MIDST OF A HEATED EXCHANGE. BEFORE THE DETECTIVES REACH THE CONFERENCE ROOM, MARK DAVIS STORMS OUT OF THE CONFERENCE ROOM AND BARRELS PAST GOREN AND EAMES. HE STRIDES INTO HIS OFFICE AND SLAMS THE DOOR BEHIND HIM. ROGER BLY WIPES A HAND ACROSS HIS FACE. AS HE NOTICES THE APPROACHING HIM HE STRAIGHTENS HIS SHOULDERS AND STEPS UP TO GREET THEM.
EAMES:
Well, he seems a little upset…
ROGER:
Um… just a little artistic difference. He's working out a marketing campaign for our latest movie and seems to be having a little conflict with the actor/director/producer of the film. I was trying to smooth things out… but I don't think I was very successful with it.
GOREN:
It wouldn't have anything to do with the death of Sheila Larsen would it?
ROGER:
Well, obviously Mark would be upset about that. He worked with Sheila on several projects and the two have become quite friendly over the years.
GOREN:
Any thing more than 'quite friendly'?
ROGER:
Not that I'm aware of, you'd have to ask Mark.
GOREN:
We will.
ROGER: (LOOKING NERVOUS)
Why… why don't we go into my office. It's just across the hall.
INT: ROGER BLY'S OFFICE
ROGER BLY, A FIFTY-ISH LOOKING MAN, DRESSED CASUALLY IN DOCKERS AND OPEN NECKED SHIRT WALKED AROUND HIS DESK TO SIT AS HE WAVES THE TWO DETECTIVES TO THE SOFA AND CHAIRS ON THE FAR SIDE OF THE ROOM. GOREN AND EAMES CHOOSE THE CHAIRS PLACED IN FRONT OF THE SOFA. GOREN PLACES HIS NOTEBOOK ON THE TABLE.
ROGER BLY:
I was shocked to hear about Sheila. She was… was a lovely girl.
GOREN:
How did you know her?
ROGER:
Sheila has been shopping projects all over town for the last half-dozen years. There are only so many outlets for the type of films, documentaries mainly, that Hazelhurst makes. We've worked with Sheila and Allison several times over the years.
GOREN:
Is that how Allison Tyler and Mark Davis met?
ROGER: (FIDGETS IN HIS SEAT)
I believe so.
GOREN:
So it would also be how Sheila Larsen and Mark Davis met?
ROGER:
Again, I believe so.
GOREN:
It's our understanding from Allison that Universal is handling their current film. And yet we found several appointments…
GOREN leans forwards and opens his binder.
GOREN:
…over a dozen with you in the last month. What would those have been about?
After several moments of silence, ROGER sighs before answering.
ROGER:
Sheila was considering leaving Hazelhurst. We… we were in talks to bring her here. She wanted more then a small film company, we're a little bigger with a higher profile. She saw us as another stop on her way to Los Angeles.
GOREN:
Did Allison know about Sheila's plans to leave?
ROGER:
I really wouldn't know. We didn't discuss it. We really did keep our conversations about contract negotiations.
EAMES:
You never asked if her partner knew if she was planning to leave?
ROGER:
It was really none of my business. I figured that was between Sheila and Allison.
EAMES:
What can you tell us about Sheila Larsen and Mark Davis?
ROGER:
Not much. They worked together on several projects. Seemed to like each other. But then most people seemed to like Sheila. Most people seem to like Mark as well.
EAMES:
Did they have a personal relationship as well as business?
ROGER:
I know they had dinner several times lately, but other than that… I really don't know.
GOREN stands and starts walking around the office. He peers closely at several awards lining the walls.
GOREN:
The Tribeca Film Festival, Cannes Film Festival, Sundance… You've been very successful, lately.
ROGER:
We've been very fortunate. I have a great staff, dedicated and hardworking who just want to film, produce and get great films out to people.
GOREN:
That photo on your desk. The one with you and Sheila? When was that taken?
ROGER:
Um… that was… earlier this year at the Sundance Film Festival.
GOREN:
So, has everything always been strictly professional between you and Sheila?
ROGER:
I never said things had always been strictly professional, merely our latest talk. Sheila, Allison and I have been friendly for years. Now, it that's all I have some calls I need to return to the West Coast. If I can be of any other assistance, please call my assistant and we'll see when we can fit you in.
ooOOoo
SCENE 12
INT: MARK DAVIS' OFFICE
MARK DAVIS SITS AT HIS DESK, AND GOREN AND EAMES ARE SITTING IN TWO CHAIRS IN FRONT OF THE DESK
MARK DAVIS:
So you're Robert Goren. Bobby. Allison's mentioned you. You're not exactly what I was expecting. Although if you were to ask me what I was expecting, I couldn't tell you, other than you're not it.
EAMES:
Mr. Davis, could you tell us then, how long you've been seeing both Allison Tyler and Sheila Larsen?
MARK:
Well, I've known both girls since I came here to Cascade. About two years now. Allison and I started seeing each other about a year ago. Sheila and I about six months ago.
EAMES:
We were under the impression that Sheila Larsen was gay.
MARK:
Well, all I can tell you, is she decided the other team wasn't as bad as she thought.
EAMES:
Does Allison Tyler know about your relationship with Sheila?
MARK:
I think you know the answer to that, especially after yesterday afternoon. I certainly never told her. Sheila may have always gone after what she wanted, but she would never have intentionally wanted to hurt Allison.
EAMES:
And she wanted you?
MARK:
Apparently. Look, it wasn't a big deal. Sheila was just, I don't know, experimenting with a different life choice. And Allison, well that's never been as serious as she thought it was.
EAMES:
Was?
MARK:
As you can imagine, she was a little upset last night.
GOREN:
When was the last time you saw Sheila?
MARK:
The night she died. We had dinner at La Galou. She was drinking – a lot. We had an argument, she left me at the restaurant and I went home. I tried calling her at work the next day, and then later that afternoon, I heard that she was dead.
GOREN:
Did you know that Sheila Larsen was pregnant?
MARK:
So… she hadn't taken care of that yet. Hmm. Yes, detectives, I knew. She told me about a month ago. She was going to have an abortion. I didn't want a kid and she didn't want a kid. It happened.
EAMES:
You seem real broken up by it.
MARK:
Look, it wasn't that big a deal between us. She was incredibly nice and I liked her, hell everyone liked Sheila, but we weren't in love. It was just sex.
EAMES:
What about Allison Tyler?
MARK sits in silence as GOREN stares at him.
EAMES:
That's what I thought.
ooOOoo
SCENE 13
EXT. CASCADE FILMS BUILDING
GOREN AND EAMES EXIT THE BUILDING AND WALK TOWARDS THEIR CAR. EAMES CAUTIOUSLY LOOKS OVER AT HER PARTNER.
EAMES:
We're going to have to question her.
GOREN: (NODDING SLOWLY)
I know. I… I think you should probably take that one, on your own. We can split up and I'll go see Dr. Sorenson.
EAMES:
Fine. First thing tomorrow, we'll split up. We need to brief the captain before the captain's meeting this afternoon.
ooOOoo
SCENE 14
MANHATTAN GENERAL HOSPITAL
MAY 1ST 10:30AM
INT: MEDICAL OFFICE OF WILLIAM SORENSON, M.D.
WILLIAM SORENSON IS A MAN IN HIS EARLY 40'S, RECEDING HAIR LINE, DEEPLY TANNED. SORENSON AND GOREN ARE IN THE DOCTOR'S LOUNGE EACH WITH A CUP OF COFFEE IN FRONT OF THEM. GOREN'S NOTEBOOK IS BALANCED ON HIS CROSSED LEG.
GOREN:
How long had Sheila Larsen been a patient of yours?
SORENSON:
Almost ten years.
GOREN:
So you're very familiar with her history…
SORENSON:
Yes. A great deal of it. Her HIV status required frequent visits. She became one of my patients just after her diagnosis with HIV.
GOREN:
The Medical Examiner found that her status had changed. She had AIDS now.
SORENSON: (NODDING)
We fought it for a long time, but yes her status changed about six months ago. We were fighting it aggressively and she had a very positive attitude. Her prognosis was still very good.
GOREN:
The M.E. also says that she was approximately six weeks pregnant.
SORENSON: (SHOCKED)
I wasn't aware of that. I take it she was artificially inseminated by another doctor.
GOREN:
We haven't been able to find any evidence that she was.
SORENSON:
You don't mean..?
GOREN:
You tell me.
SORENSON:
She never said anything that would lead me to believe that she wasn't in a same sex relationship or that she was engaged in risky practices.
GOREN:
When was the last time you saw her?
SORENSON:
She had an appointment just last week.
GOREN:
She didn't say anything about her being pregnant, didn't ask any, I don't know… any what if questions? She didn't seem worried or concerned about anything?
SORENSON:
No, again, she didn't say anything or allude to a pregnancy. She was responding well to treatment and it was a very uneventful visit. She was excited about her latest project. She and her partner were entering one of their documentaries in the Tribeca Film Festival.
GOREN:
So, Sheila's HIV/AIDS status changed about six months ago.
SORENSON leans back in his chair as he nods.
SORENSON:
Sheila came to see me with a bronchial infection that we had a devil of a time clearing up. We ran the blood work again, and found that her T-cell count had dropped from 500 down to 200. 200 is the level most doctors recognize as the baseline level for a diagnosis of AIDS.
GOREN:
Did her attitude change? Did she become fatalistic, or more thoughtful, or….
SORENSON:
No, if anything she seemed more determined to get as much out of life as she could. She still had one of the most positive attitudes about her situation that I've ever seen. Which means that the change in diagnosis outwardly seemed to impact her very little.
GOREN:
Um … okay. I think that's all I need for now.
GOREN closes his binder and stands, extending his hand.
GOREN:
Thank you for your time, Dr. Sorenson. Here's my card. If you think of anything, please give me a call.
SORENSON:
I will detective. i…I hope you find whoever did this. Sheila was a wonderful girl.
GOREN:
That's how I remember her too, Dr. Thank you again, doctor.
SORENSON:
Then you know what a loss this is.
GOREN:
Yes I do.
ooOOoo
SCENE 15
HAZELHURST PRODUCTIONS
3657 DWYER, BROOKLYN,
MAY 1ST 10:30 AM
EAMES AND ALLISON TYLER ARE IN THE CONFERENCE ROOM THEY MET IN YESTERDAY. PAPERS ARE STREWN ACROSS THE TABLE. ALLISON TYLER APPEARS TIRED AND NERVOUS.
EAMES:
I hope this isn't an inconvenient time for us to meet? I have just a few more questions.?
ALLISON: (DISTRACTEDLY)
Where's Bobby… uh, Detective Goren?
EAMES:
He… We felt it might be easier if I conducted this interview.
ALLISON: (NODDING)
Oh, because… because of our previous relationship. I guess I can understand.
EAMES: (LOOKING AROUND THE CONFERENCE ROOM)
Things seem to have come a bit unraveled since yesterday.
ALLISON:
I… we… the lawyers and I haven't been able to find the draft that Sheila and I agreed to with Universal. Now , Universal has records that seemingly show that we agreed to an all together different draft. One that allows them to take ownership of our films. I would never have agreed to that. NEVER. Sheila would never have agreed to that.
EAMES:
Is it possible that Sheila changed the agreements and didn't tell you? Or your lawyers?
ALLISON:
What? Why would she…
PAUSE
Oh… I see. You think that she was dealing with Universal behind my back… and that maybe I found out about it. And… Am… am I a suspect in her death?
EAMES sits quietly, watching as ALLISON stands and starts pacing around the room.
ALLISON:
Well, so that's really why Bobby… Detective Goren isn't here. This would be really awkward if he were here. No detective, Sheila wouldn't have played a game like that… that's not the type of person she was. And as I said, she would never have agreed to give away ownership of our work. And no, I didn't kill Sheila. Sheila was like family to me. Closer than my own sister.
EAMES:
Ms Tyler, I need to ask. Were you and Ms. Larsen lovers?
ALLISON: (WITH A BITTERSWEET SMILE ON HER LIPS)
No, detective. We were never lovers. We've … we'd been friends for close to twenty years. We didn't have secrets from each other. There were everyday things we hadn't had a chance to tell the other, but we didn't have any secrets.
EAMES:
What about Mark Davis? Apparently that was a secret she was keeping from you, or was he one of those everyday things you hadn't had a chance to tell each other.
ALLISON: (HEAVY SIGH)
I think I'd have to classify Mark Davis as one of those everyday things we hadn't had a chance to tell the other. And to save you from asking, I would be much more likely to go after Mark than Sheila. I have already come to believe what Mark said, when I confronted him about it the other day.- our relationship was never what I thought it was – he was right. I wanted it to be more than it was, so I convinced myself it was.
EAMES looks down at her notes as she begins to ask her question.
EAMES:
Did you also know about her …
EAMES looks up and focuses on ALLISON
EAMES:
… the change in her HIV status or her pregnancy?
ALLISON:
Wh… what? Her change? She had AIDS? And she was pregnant?
EAMES nods.
ALLISON: (LOOKS UNCERTAIN AND DOES'NT MEET EAMES EYES)
No… no… I didn't know about either of those. She.. she… oh my god. She never said anything. I … I don't think anyone here knows about this.
EAMES:
I'm sorry, but it would seem she was better at keeping secrets than you imagined.
ALLISON:
I'm sure it was just to keep us from worrying about her. Mark… was Mark the father?
EAMES:
I really don't know. Apparently, she told him he was. He appears to have believed her. He also told us she was planning to have an abortion. Do you see Mark as the father type? Would he have taken on his share of the responsibility of raising a child?
ALLISON:
No. She wouldn't have done that. She always wanted to have a child… at some point. She wouldn't … and Mark, he's always made it clear that children and marriage were not what he wanted.
EAMES:
Do you think that he could have harmed Sheila if she decided to go ahead with the pregnancy?
ALLISON:
He's not violent. I may have just discovered that he's an incredible jerk, but I … I can't believe he'd react that way. He might say that Sheila was on her own if she decided to have the baby, but he wouldn't have hurt her or killed her. Sheila was independent enough to raise a child on her own, and … and if she ever became so ill that she couldn't, there is her family or me.
EAMES:
What about Roger Bly and Sheila?. What can you tell me about their relationship? Did you know that Sheila had been meeting with Roger Bly about…
ALLISON:
About going to work for him. Yes, I knew. She told me when he first approached her about three months ago. It's an open secret in the office. I was happy for her. She is … was very talented and wanted to make big, important movies.
EAMES:
She told you that Roger Bly approached her?
ALLISON:
Yes. She said it was a couple of weeks after we came back from Sundance.
EAMES:
I see. Thank you. I think that's all I'm going to need.
EAMES stands, turns, and walks to the door. She grasps the doorknob and turns back to look at ALLISON.
EAMES: (SOFTLY)
Have you ever been tested? It … it might be a good idea if you were.
ooOOoo
SCENCE 16
ONE POLICE PLAZA
MAJOR CASE SQUAD ROOM
MAY 1st 1:30PM
INT: INTERVIEW ROOM
DETECTIVES GOREN AND EAMES ARE REVIEWING THEIR NOTES IN ONE OF THE INTERVIEW ROOMS. CAPTAIN JAMES DEAKINS ENTERS THE ROOM.
DEAKINS
Where are we on this?
EAMES
There's very little physical evidence. No DNA matches so far. Mark Davis is a likely suspect. He had a sexual relationship with her as well as her partner – he's a real dog. He's been exposed to the Aids Virus. It's possible he didn't know about her HIV status, and then found out. Or, maybe she threatened to tell Allison, he panicked, and killed her. They fought earlier in the night. It could have been about either of those two scenarios.
DEAKINS:
That's assuming he didn't already know about her HIV status and that he was afraid of ALLISON TYLER'S reaction to the affair. Neither seems very likely.
EAMES:
It could have been because of the pregnancy. Or a combination of all three. Maybe it was too much all at one time and he snapped.
GOREN:
What about the Phenobarbital injections? Dr. Sorenson is the only one who has ready access to liquid Phenobarbital. I can't find any evidence to suggest that he was involved with her other than as her doctor. His alibi checks out – he was a guest speaker at an AIDS conference in St. Louis over the weekend.
DEAKINS:
Who else you got?
EAMES:
Roger Bly. We have conflicting stories about his relationship with Sheila Larsen. We haven't turned up any evidence of an affair. But their professional relationship could have something to do with it. She's been negotiating to jump from Hazelhurst to Cascade Fillms.
DEAKINS:
Davis seems the more likely suspect. Connect him to the drugs and bring him in.
GOREN has been reading his notes while EAMES and DEAKINS discuss DAVIS as a probable suspect. Rising suddenly, and carrying his notebook he hurries from the room. As EAMES and DEAKINS exchange looks, they stand to follow him.
EAMES:
Was it something we said?
EAMES and DEAKINS exit the interview room and see GOREN sitting at his desk. He is typing on his computer keyboard. He pulls up the website for Cascade Films. He looks up as EAMES and DEAKINS reach his desk.
GOREN:
When we were in Roger Bly's office, I noticed the awards on his book shelves. He had several trophy's on display. There was one from the Tribeca Film Festival, from Cannes, and from Sundance. But not one from the Montreal World Film Festival. Their website says "this year's award for special merit at the Montreal World Film Festival brings us our fourth award for innovation in filmmaking." Why isn't the award in Bly's office with the other three awards? What happened to it? And look here.
Goren turns his computer screen to show Eames and Deakins a picture of the trophy awarded at the Montreal Film Festival. It's a short trophy in the shape of a human head on a circular base.
GOREN:
If you were to hold the trophy by the base and swung it, the indentation it would leave is consistent with the unique wound that Rodgers found.
EAMES:
Allison told me that Sheila admitted that Roger Bly had approached her about going to work at Cascade Films. Roger told us that Sheila came to him.
DEAKINS:
Maybe you should go have another chat with Mr. Bly. Find out if you can connect him or Mr. Davis with the Phenobarbital.
GOREN opens his notebook, flipping pages until he finds her name.
GOREN:
Priscilla Bly, Roger's wife is a dispensing nurse at Manhattan General. Roger could have gotten access to liquid Phenobarbital through her. We need to check the hospital's records to see if there are any discrepancies in their dispensary.
DEAKINS:
Go. Pick up Bly, bring him in and have that chat with him here. I'll have Sanders follow-up with the hospital and I'll call Carver.
ooOOoo
SCENE 17
CASCADE FILMS
3515 34th STREET
May 1st 4:30PM
GOREN, EAMES and two uniform officers entered the lobby of Cascade Films. Briskly walking up to the receptionist, she is a 20-something blond reading a script. Both detectives draw their shields as she looks up as they approach.
EAMES:
Roger Bly. We need to see him.
RECEPTIONIST:
He left for the airport about twenty minutes ago.
GOREN:
Which airport? What airline? And where is he going?
RECEPTIONIST:
La Guardia. The D-D-Delta terminal. He and his wife are going to the Bahamas for a long weekend.
GOREN:
Is this a sudden trip? Or has it been planned for long?
RECEPTIONIST:
It was very sudden. I was on the phone half of yesterday, canceling meetings for Mr. Bly for the rest of this week and most of next.
GOREN:
Thank you.
Turning away from the bewildered girl the four rush back out of the building. As they reach their car, EAMES turns to the uniform officers, COLLINS and HARMON.
EAMES:
He's running. Collins call the TSA and let them know about Roger Bly and his wife…
GOREN:
Priscilla.
EAMES:
… Priscilla. Stop and hold them if possible. At the very least, they should keep them under surveillance until we get there.
As EAMES opens the car door she turns back yells after the officers.
EAMES:
And find out what flight number and gate they are at. Have them to hold the plane if necessary.
ooOOoo
SCENE 18
LA GUARDIA AIRPORT
DELTA TERMINAL
6:00PM
Driving into La Guardia airport with lights and siren, EAMES pulls over in front of the Delta Terminal and slams on the brakes, squealing tires as the SUV comes to a stop in front of two Port Authority Police Officers who are waiting for them. SERGEANT DYSON and OFFICER HOFFMAN greet the two detectives.
SARGEANT DYSON:
As of ten minutes ago, TSA assures me that Roger Bly and his wife haven't passed through any checkpoints in the last half hour, at least not under their real names. But there was a thirty-five minute window, before we were notified, when they could have passed through. They have checked in for their flight though, it's Delta Flight #1690 at gate 11, we've had the airline delay the boarding call, but if the plane isn't boarded and ready for take off on time…
EAMES:
We're after a murder suspect.
SARGEANT DYSON:
I understand that detective. And the Port Authority Police force is here to help you in any way we can. But we also have to be mindful of our occupants and guests at the airport. It isn't likely to be an issue, now that you're here, but I do not have the authority to keep that plane on the ground or delay it's on time take-off. That decision comes from much higher up on the food chain than my officers and me. I already have two officers stationed near by, but not at the gate. Since we don't know what they look like, we didn't want to spook them.
GOREN:
Good thinking, Sergeant.
The four officers enter the airport terminal and walk toward the security checkpoint. As GOREN and EAMES show their shields they are allowed to skirt around the long line waiting access to the gate area to accompany the Port Authority Cops through the side entry. Perplexed muttering and heads swiveling to follow their progress can be seen and heard from those waiting to pass through the checkpoint can be overheard. A sign points left, signifying Gates 1 – 11.
Reaching the gate. The officers stop.
EAMES:
There he is. Over on the far side, by the wall.
ROGER BLY is sitting with a petite blond who looks to be in her mid 30's.
GOREN:
I got him. The blond must be his wife, Priscilla.
EAMES:
Let's see if we can get him to talk to us away from the gate. I'd like to keep this as low key as possible. Sergeant, if you and your officer could back us up at a distance, we'd appreciate it. I don't want to spook them with all these people around.
DYSON:
We got your back. We'll keep anyone from interfering.
GOREN:
Thanks.
GOREN and EAMES walk weave their way through the busy terminal towards ROGER BLY. As he sees their approach he looks nervously at his wife PRISCILLA, sitting next to him before standing.
PRISCILLA: (LOOKING UP FROM THE BOOK SHE"S BEEN READING)
What's the matter Roger?
ROGER:
Nothing. Nothing.
EAMES:
Taking a long weekend with the wife, Mr. Bly?
ROGER:
Well, yes actually. It's been a rough couple of weeks, especially this last week and I felt we deserved a little treat.
PRISCILLA:
What's going on here?
ROGER:
These are the detectives investigating Sheila Larsen's death. I mentioned them the other day.
PRISCILLA:
Yes of course, I remember.
EAMES:
Please Mr. Bly could you come with us? We have a few more questions we need to ask you about Sheila Larsen.
PRISCILLA:
WHAT?! Roger? Roger didn't have anything to do with Sheila's death. He… he couldn't have.
EAMES:
Mrs. Bly why don't you come with us too?. Maybe we can get this straightened out quickly and you can get back on your long weekend holiday.
ROGER:
There's no reason for Priscilla to become involved in this, it .. it has nothing to do with her. Why don't you take a cab home dear, and when I finish up with the detectives we can take a later flight…
PRISCILLA:
No. This is ridiculous. I'm going with you.
ROGER tries to reach out for his wife, stepping away from GOREN who is holding him by the upper arm, GOREN spins the man around and pushes his back up against the wall.
GOREN:
Uh, uh Roger, you shouldn't have tried that.
ROGER:
I was just going to help my wife….
EAMES:
All right. Roger Bly your under arrest for the murder of Sheila Larsen.
GOREN motions for ROGER BLY to turn around. When he does, GOREN pulls out his handcuffs and places them on the man's wrists before handing him over to the one of the Port Authority officers.
PRISCILLA:
What? Roger… Roger? No, you can't take him like this. He … he didn't do anything.
PRISCILLA BLY is frantically looking around the terminal, looking lost. GOREN turns back and walks over to her.
GOREN:
Mrs. Bly, if you'll come with me, I'll see that you're taken to see your husband. We're going to be taking him to One Police Plaza downtown, where we're to process and book him, and then interview him again. It's going to be several hours. You should call your lawyer. We'll be questioning him extensively and you might want to have your lawyer with him… to… to protect him. Do you understand?
PRISCILLA:
Uh, yes… yes. I … I understand. I have to make sure that Roger is protected.
ooOOoo
SCENE 19
INT.
ONE POLICE PLAZA
MAJOR CASE SQUAD, OBSERVATION ROOM
10:00AM
PRISCILLA BLY enters, DEAKINS follows closely behind. GOREN and CARVER are already in the room. As she enters she looks through into the interrogation room to see ROGER sitting with EAMES. The speaker is turned off so those in the observation room can't hear what's going on inside the interrogation room. GOREN rises and offers his chair to PRISCILLA.
GOREN:
My partner is interviewing your husband now. I… have to be honest with you, it's not looking good for him.
PRISCILLA:
Can… can I hear what they're saying? But… I don't understand. He didn't do it. He couldn't have. And… and where's our lawyer?
DEAKINS:
Your husband hasn't asked for a lawyer yet.
CARVER:
I'm sorry Mrs. Bly, but I can't let you listen in on an official interrogation. There may come a point where we may need to ask you some questions regarding this.
PRISCILLA:
Questions? For me? What about?
GOREN:
Well, you might have information that proves your husband's innocence.
PRISCILLA:
I see.
PRISCILLA:
But… still our lawyer ... he should be with him. Can.. can I call him?
CARVER:
Certainly, Mrs. Bly You can use the phone right here, or I'm sure Captain Deakins wouldn't mind letting you use the phone in his office…
PRISCILLA:
I'm sure this one here is fine. When… when was Sheila killed? What time? Maybe… maybe I can put an end to this right now, before I have to call him.
GOREN:
That would be very helpful Mrs. Bly. The Medical Examiner tells us the time of death was about 4AM on the 29th. Was your husband home all night?
PRISCILLA:
Yes… yes of course he was.
GOREN:
He couldn't have slipped out during the night?
PRISCILLA:
No, of course not. He has trouble sleeping. Most nights he takes a sleeping aid. Once he does that, he's out for a good eight hours. We were in bed about 11PM that night. Just like most nights. So you see, he couldn't have done it.
GOREN:
What type of sleeping pills does your husband take?
PRISCILLA:
He takes ….
GOREN:
So he takes.. what one tablet or two tablets to get him through the night?
PRISCILLA
No… no Roger has a problem swallowing pills. It's easier for him to take it in liquid form.
GOREN retrieves a copy of Roger's prescription and slides it over to her.
GOREN:
That's right, he has a prescription for liquid Luminal. What type of drug is it? You're a dispensing nurse, you would know right?
PRISCILLA:
If I understand your question correctly, I think what you want to know is that it is Phenobarbital.
GOREN slides another copy of a report towards her. She reaches out and looks it over.
GOREN:
That's right. That's it. See here. It's in the Medical Examiner's report. Sheila Larsen was not only bludgeoned to death, she was also injected with Phenobarbital. According to this report, very high levels of Phenobarbital.
PRISCILLA stands and walks over to see into the interrogation room better.
GOREN:
Who's idea was it to go to the Bahama's now?
PRISCILLA:
It was my idea detective. My husband has been very busy at work, getting ready for the new rounds of film festivals. He hasn't been sleeping well. And now Sheila's death. I just thought a few days away and everything away and when we got back everything would have returned to normal.
GOREN:
Don't you see that it looks bad for your husband to leave town in the middle of the investigation like this?
PRISCILLA:
I… I didn't think about that. Because he didn't have anything to do with her death.
GOREN:
Well, let's think about it for a minute. Your husband has an ongoing relationship… a…. a professional relationship with Sheila Larsen. He's been trying to get her to work at Cascade Films for the last few months. She's vacillating, stringing him along, not making a decision, and time is running out, he needs her on board for the film festival circuit. Then she's murdered, she's bludgeoned to death with a heavy object that looks very much like this…
GOREN gets up and walks over to the counter where he uncovers a trophy. It's a replica of the Montreal World Film Festival.
GOREN:
… and she's injected with Phenobarbital, a substance your husband … and you have easy access to.
PRISCILLA turns to look at GOREN, daring him to continue. GOREN crosses the room to stand next to her. He stares into the interrogation room while her back is now turned to the room. He leans over slightly.
GOREN: (SOFTLY)
When did you find out that Sheila Larsen was pregnant?
PRISCILLA closes her eyes and slowly lets out a long breath.
PRISCILLA:
About a month ago. I…Roger has always been so smitten by Sheila, but she has always been open about her lifestyle, so I never really took it too seriously. But, I was in the lab one day, waiting for a friend to be able to go to lunch when I happened to look down and I saw her test results. I just happen to look down and saw her name on the report. After all these years, who would have guessed, she was bi-sexual and not gay. accidentally saw her test results. Of all the test results in that lab, hers is the one I noticed. I was just so … so offended. At… at how unfair life is., she was going to have the baby I've wanted for years. Do you know how long Roger and I have tried to have a child? They have an affair and within months she's accidentally pregnant and I've been trying for years!
GOREN:
It's true Sheila Larsen was pregnant, but… not by your husband.
PRISCILLA:
What? No… that's not right.
GOREN:
Yes, yes it is. Sheila and Mark Davis went to Bermuda almost seven weeks ago. While they were there, she was artificially inseminated. We haven't been able to find any evidence that your husband and Sheila Larsen were having an affair.
GOREN walks back over to his binder and pulls out another piece of paper and hands it over for PRISCILLA to read. The header reads: The Hamilton Clinic, St. Georges, Bermuda.
GOREN:
She told Mark Davis he was the father. She also told him she was going to have an abortion. Neither of which appear to be true.
PRISCILLA turns to look at her husband who is still talking with EAMES in the interrogation room.
GOREN:
Priscilla Bly, you are under arrest for the murder of Sheila Larsen.
GOREN gently hands her over to a uniform officer who had been standing off to the side through out the interview. DEAKINS and CARVER join GOREN standing at the window looking into the interrogation room.
CARVER:
We should tell your partner to stop questioning Mr. Bly.
GOREN:
She hasn't been questioning him. She's been explaining the case we have against his wife.
CARVER:
Was he having an affair with Sheila Larsen?
GOREN:
I don't know. He may have admitted it to Eames. We never found any evidence of an affair though. I don't think it's likely. She wasn't promiscuous or reckless.
CARVER:
You didn't seem to find a whole lot of evidence pointing to anyone. All you have is the admission of Priscilla Bly which is good enough for a conviction. You were lucky.
GOREN:
Lucky? No, it we were lucky we'd have the answers to all the questions. The only answers we found were , who killed Sheila Larsen and why she was killed.
DEAKINS:
In this case, that's good enough for me.
GOREN:
I'll still take 'em anyway I can get them, but sometimes I wish there were more.
ooOOoo
EPILOGUE
THREE MONTHS LATER...
ALLISON TYLER is standing behind a podium at the Target-Tribeca Filmmaker Lounge. Her smile is radiate.
ALLISON:
I'd like to thank the judging panel for seeing something special in our film, Those Left Behind. This is has been a tremendously difficult year for us at Hazelhurst. I'd like to dedicate this award, as we did the film to Sheila Larsen, whose dedication, hard work and friendship were instrumental in making this film possible. I owe our families in this film a great debt for sharing their honesty, humanity, pain and humor with us. The life of the schizophrenic and their family is difficult at best and yet they allowed us to come in and complicate it even more. They were… they are an amazing group of people, and I thank them. It's their hope and my hope that by shining a spotlight on some of the more positive illustrations of the life of the schizophrenic and some of their successful stories in living with schizophrenia that we can in some small way dispel the overriding stereotype of the schizophrenic. Thank you all.
ALLISON steps away from the podium and walks back to her seat. As she takes her seat next to him, BOBBY GOREN applauds.