Diagnosis Murder: Script, "The Greatest Fear"

By Olivia Sutton

Part 2: Act I

A note on formatting. I wrote this script style with standard telecript formatting and camera directions. A list of abreviations is to be found in section one. Since I can't get this thing to save italics, all camera direction is enclosed in parenthesis. As always, asterisks (*) denote emphasis or stress

And finally, character names should be centered above the dialogue, but when I upload this everything comes out flush left.

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TEASER

(Int. Mark Sloan's beach house, kitchen, day.

C.U. ringing telephone)

Dr. MARK SLOAN

Walking into kitchen, wiping hands on dishtowel, reaches telephone,

(to ringing phone) Just a minute. (picking up phone, into phone) Hello?

CAPTAIN MASTERS (o.s.)

Mark. It's about Steve.

(M.S. Mark sags against the wall, his face noticeably paler.

C.U. His shocked face.)

MARK

What happened? How bad is it?

CAPTAIN MASTERS (o.s.)

No, Mark that's not... Look, he's fine, physically. But... Something's happened today. You better come down to headquarters.

MARK

(C.U. Mark's face, pensive and confused)

What happened? Please, captain. (He makes a harsh sound, deep in his throat) Please, I have to know what's wrong.

CAPTAIN (o.s.)

Okay. But remember it wasn't Steve's fault. Steve shot and killed a sixteen-year-old boy.

(C.U. Mark closes his eyes in pain.)

CAPTAIN (o.s)

Look, Mark. Steve was going to pick-up a suspect on the Burton murder. The suspect made a break for it. Steve gave chase and got the guy cornered. The guy fired at Steve and Steve returned fire. But some kid got in the way. Steve says he didn't even see the boy, and I believe him. He couldn't have had time to pull his shot.

MARK

(Mumbles something, incoherently)

CAPTAIN (o.s.)

Steve's a good cop. I know the shooting committee will clear him. But, emotionally, Mark. . . he's a mess. He's not talking to anybody. That's why I called you. None of us at the station can help him right now. Maybe you can. He needs you.

MARK

(Regains his composure and ability to speak)

I'll be right there.

(*Cut to opening credits*)

ACT I

SCENE I

(Int. police station, day. Lt. Steve Sloan sits quietly in a darkened room. Mark Sloan enters.)

MARK

Why are you sitting in the dark? (turning on lights)

(Steve doesn't answer. Mark continues to speak, looks at Steve, pauses, then adds: )

Steve, Captain Master's told me it wasn't your fault.

Lt. STEVE SLOAN

Yeah, I know that.

MARK

Um, do you want to talk about it?

STEVE

No. I'm fine.

MARK

Um, hum. That's why you had the lights off when I came in here.

STEVE

Look, Dad, you wouldn't understand. I'm fine. I'll deal with it on my own.

MARK

Steve...

STEVE

Okay, fine, Dad. What was your worse fear when I joined the force?

MARK

(Without hesitation)

That something would happen to you.

STEVE

(Nodding)

Exactly! My greatest fear has always been this. Hurting, no--killing an innocent! And what's worse, it was a child. That's the difference. That's why we can't discuss this.

(Mark closes the distance between them as if to give Steve a hug, but Steve pulls away. Mark settles for patting Steve's shoulder, looks at him with concern, and leaves. *Cut*)

SCENE 2

(Steve's apartment, evening, the day of the shooting.

Steve wanders into the apartment, but doesn't turn on the lights. He's carrying a bottle in a brown paper bag, which he puts on the kitchen counter. He flips on the kitchen lights, and removes a bottle of Scotch from the bag, then opens a cabinet door and takes a glass from the cabinet. The phone rings. Steve ignores the phone, opening the freezer instead. The answering machine clicks on.)

STEVE (on machine, v.o.)

Can't talk right now. Leave a message. (beep)

Dr. JESSE TRAVIS (o.s.)

Steve, pick up the phone. Look, Mark called me --he's worried about you. You can talk to me. Come on, answer.

STEVE

(Aloud, to the empty apartment) No, I can't Jesse. You wouldn't understand.

(The machine clicks off. Steve drops some ice in a glass, and pours the Scotch over it. He takes a sip and grimaces. He reaches over to the phone, but only erases the message. He then drains his drink, and pours another.

*Cut*)

SCENE 3

(Later that night, Steve's bedroom. Steve jolts awake. His body glistens with sweat and he looks terrified)

STEVE (mumbling)

It was a dream, a dream...

(He rolls over, but we can see he's wide awake and won't be going back to sleep anytime soon)

SCENE 4

(Int. Steve Sloan's bedroom, morning.

Steve rolls over and looks at his clock. He realizes he's late, jumps out of bed, startled by waking so suddenly and so late)

(Continuing ...

Int. Police station, mid-morning, Captain Master's office, Steve rushes in. His hair's a mess and his clothes are disheveled)

STEVE

Sorry I'm late, Capt'n. I overslept, um . . .

CAPTAIN MASTERS

Steve, shut the door.

(Steve looks at him, then complies)

CAPTAIN MASTERS

Steve, don't worry about being late. About the shooting, yesterday. You know the rules and the procedure. You are automatically on desk duty until the shooting committee has completely reviewed what happened, and made it's recommendations.

STEVE

It wasn't my fault-- I didn't even see, I mean, I didn't have time to...

CAPTAIN MASTERS

Steve, Steve, you *know* the procedure. Don't take it personally. Now go catch up on your paperwork.

STEVE

Yes, Captain.

(Steve exits the office, but instead of going to his desk, he leaves the station

*fade out*)