THE LONE GUNMEN Episode 2x5?: "Psych Out" Written by: Jackie Galvin TEASER OPEN FADE IN EXT. OFFICE BUILDING - AFTERNOON We see the exterior of a typical office building. The activity and noise are what is to be expected in a city at this time of day. There are cars driving by, people walking on the sidewalk, the usual hustle and bustle. It's a sunny day, probably around fall. People are dressed in jackets, so it appears to be a little on the cool side. But people seem to be enjoying it. LEGEND indicates: COURTYARD PAVILION RICHMOND, VIRGINIA 2:43 P.M. INT. BUILDING HALLWAY--DAY The inside of the hallway is pretty typical for an office building. We see the walls are plain white, with various paintings of landscapes hanging on them. The many doors in the hallway are all glass. The flooring is professional-looking and shiny black. We pan sideways to one of the glass doors. We can see clearly into the room, but we are more interested by the writing on the door in simple black letters, "Patricia Greenwater, MD." INT. GREENWATER'S PRACTICE - WAITING ROOM There isn't much activity going on in the room as we pan from the other side of the door. It's a typical waiting room. The walls are painted deep hunter green, with dark wood paneling at the corners and on the floor. The carpet is deep mohageny, with a soft textured-look. There are chairs pushed up against the walls. A small table is in between two of the chairs in the center. There are stacks of magazines on it. We hear sounds typical of a waiting room: talking, a phone ringing, and soft instrumental music playing, presumably from an overhead speaker somewhere, since we can't see a radio visible. We pan past a man occupying one of the chairs next to the table. The man is middle-aged, medium build. His eyes are dark. His hair is dark and graying. He is dressed in an expensive-looking business suit. He looks like he would be the CEO of a business. He is sitting quietly, not reading or doing anything but looking anxious and slightly nervous. The camera stops in front of an open window in a wall separating the waiting room from the receptionist area. All the talking and the phone ringing is coming from here. INT. GREEWATER'S PRACTICE - RECEPTIONIST AREA We see a typical receptionist area. There are three women in there, doing various things. One is sitting at a built in work area near the open window in a swivel chair. She's appears to be in her thirties, dressed in simple black pants and blouse, her dark hair pulled back with a headband. She's writing something in what appears to be an appointment book. We'll call her RECEPTIONIST #1. RECEPTIONIST #1 (answering the phone) Dr. Greenwater's office. She nods as she starts writing in the appointment book. RECEPTIONIST #1 Yes, Mr. Slater. I'll be sure to tell Dr. Greenwater that. Thank you for calling us and letting us know. Don't forget to call back so we can reschedule. I hope Josh feels better. (beat) Goodbye. RECEPTIONIST #1 hangs up the phone and finishes writing. She turns around in the chair to face the other two women. The second one, we'll learn her name is DORA, is at the filing cabinets, putting files away as she is talking with the third receptionist, who we'll learn is LUCY ARNOLD. Both are dressed similarly to RECEPTIONIST #1, and around the same age. Lucy's hair is light brown, while Dora's is a dark blond color. Lucy is leaning up near the files, arms crossed, listening to Dora talk. DORA . . . and I said, 'There's no way that could have been him.' RECEPTIONIST #1 Dora, Robert Slater just called. He had to cancel his appointment. His kid just started throwing up. DORA (wrinkles her face slightly) Poor kid. I'll go tell Patricia. Lucy uncrosses her arms and straightens up. LUCY I'll go tell her. DORA Thanks, Lucy. We follow Lucy as she walks the link of the receptionist area and down the length of a small hallway. There are doors on either side, but nothing out of the ordinary in this type of office. Lucy stops at a door with a nameplate on it. We can see it reads "Patricia Greenwater, MD." Lucy knocks on the door. GREENWATER (O.S. from other side of door) Come in. Lucy opens the door and walks in. INT. GREENWATER'S OFFICE--DAY The interior of the office is what we would expect from a psychiatrist's office, even though we don't see much of the room at this time. Sunlight is streaming through the open windows. Off to the left, we see a woman sitting at a chair. She appears to be in her early-thirties, long brown hair pulled into a bun. She is dressed in a pair of black slacks and matching blouse. We catch a glimps of a pair of black flats on the floor next to her chair. She is facing another woman who is sitting on the room's black-leather couch. There is a bare glass coffee table near it. A few ferns are on either side of the couch. The other woman looks younger, mid-twenties, light brown hair, dressed in khaki pants and a white shirt. She looks a little agitated, her hands folded neatly in her lap. We'll call her PATIENT. Greenwater looks up as Lucy comes in. GREENWATER Yes? LUCY Sorry to disturb you, but Mr. Slater just phoned. He won't be able to make his appointment. His kid's really sick. GREENWATER (nods) Thank you, Lucy. Lucy gives a smile as she leaves. GREENWATER Oh, Lucy. Lucy stops and reenters the room. LUCY Yes? GREENWATER Has Kelly arrived yet? LUCY (shakes her head) No, ma'am. GREENWATER Her class must be running over today. (beat) Well, when she does arrive, tell her I have the documents she requested for her thesis. I have them on my desk, and she can come back and get them. LUCY Yes, ma'am. GREENWATER (smiles) Thank you. Lucy leaves, closing the door behind her. Greenwater uncrosses her legs as she stands up and walks over to her desk and jots something down on a piece of paper. We see the desk is in relatively neat condition, with a stack of bound papers near a few photo frames, though we can't see the photos themselves. On the wall behind we see various diplomas and plaques. There are two chairs on the other side of desk facing it. GREENWATER (looks up briefly at Patient) Please continue. Patient sighs as she uncrosses her hands and leans back slightly on the couch. PATIENT Well, it's like I was saying. I don't know why they scare me so much. I really like cats. (beat) A lot. Greenwater finishes her writing as she comes back to her chair and sits down, crossing her legs again. GREENWATER Do you remember anything bad happening to you that was, in some way, related to cats? Patient looks uncertain. GREENWATER (gently) I need you to talk to me. I know it can be difficult talking to a stranger about this, possibly even embarrassing, but I can't help you if you don't tell me. PATIENT Well, there was this one time, when I was really young. (beat) But it didn't happen to me. It happened to my brother. GREENWATER What happened? PATIENT Well, we were playing hide and seek in our front yard - I was five and he was seven. He was hiding, and I was looking for him. All of a sudden, I heard a scream from the bushes near the front door. I run over, and he comes out with his face scratched, crying. He runs into the house, and I follow, but I glance back at the bushes and see a large orange cat walk out calmly. (beat) Then I run into the house. GREENWATER Were you scared? PATIENT I don't remember being scared . . . at least, not at the cat. I was scared for my brother, like he was going to die. GREENWATER That's a pretty normal reaction for a five-year-old in that situation. (a beat) How did your brother cope with it? PATIENT He was fine. No problems. He's even a veterinarian now in Chicago. But . . . GREENWATER But you didn't cope very well, did you? Patient shakes her head. PATIENT At first, I thought I did, but then a few years later . . . INT. BUILDING HALLWAY - ELEVATOR --DAY We hear the distinct ping of the elevator right before the doors open. A woman exits and walks quickly down the hallway toward Greenwater's practice. She appears to be in a hurry. She is slender and young, early-twenties, dressed in a pair of black slacks and a lavendar blouse over a white silk tank top. Black flats are on her feet. Her medium-length hair is red, pulled back into a ponytail and we see her blue eyes from behind a pair of glasses. She has a sufficiently stuffed backpack slung over her shoulders. We'll come to know her as KELLY GRACE. Kelly enters Greenwater's office and crosses the waiting room. She goes through the door that leads to the back area, stopping at the receptionist area. Lucy has rejoined and is helping out with some files. KELLY (breathlessly) Sorry I'm late. There was an accident on campus, and I tried calling, but the battery on my phone was dead. Is, um, Dr. Greenwater upset? LUCY No, but she has those files you requested. She told me that you can go get them when you came in. Kelly looks relieved. KELLY Thanks, Luce. Kelly drops her bag in the receptionist area before she walks down the hall to Greenwater's office. She is about to knock on the door when it is opened by Greenwater. She is in the middle of talking with Ms. Thompson, who is beside her, looking slightly less anxious than when we last saw her. GREENWATER . . . and if you have any questions, please call me. (notices Kelly and smiles) Kelly, you're here. KELLY (smiles) Dr. Greenwater. Sorry I'm late. GREENWATER It's perfectly okay, Kelly. (talks to Patient) Don't forget to talk to Dora at the front desk. She'll set you up with another appointment next week. PATIENT (smiles) Thank you. Kelly steps aside and lets Patient walk past her. Greenwater motions for Kelly to join her in her office. Kelly walks in, and Greenwater shuts the door behind her. KELLY Lucy said you had the documents I asked for. GREENWATER They're on my desk. Greenwater walks over to desk and grabs the stack of bound papers. She hands them to Kelly before she sits in her chair and starts making notes on a piece of paper. Kelly quickly leafs through the papers as she takes a seat in one of the two chairs across the desk. KELLY This is great. I really appreciate this, Dr. Greenwater. GREENWATER No problem, Kelly. I'm glad to help out any way I can. Greenwater finishes up her writing and gets up. She walks over to a set of black filing cabinets against the left wall adjacent her desk. We also see a large bookshelf spanning three quarters of the length of the same wall. Greenwater opens one of the drawers and pulls out a file. She inserts the paper into the file and returns the file to the drawer before closing it and returning to her desk. INT. BUILDING HALLWAY - ELEVATOR -- DAY We hear the distinct ping of the elevator right before the doors open once again. This time, however, a man gets off. He's in his late forties, dressed in jeans and a army green t-shirt with a black jacket thrown over that. His hair is dark, with gray showing slightly around the temples. He seems distant as he walks toward Greenwater's practice. We'll come to know him later as MARCUS NASSAR. NASSAR (singing softly) Oh, say can you see, by the dawn's early light. INT. GREENWATER'S OFFICE Greenwater is writing at her desk while Kelly continues looking through her papers. Greenwater looks up. GREENWATER So, Kelly, your class go over? Kelly looks up, startled. KELLY (nervously) No, uh, actually there was a small car accident right in the parking lot, and it took forever to get out. I tried calling, but my phone went dead. I'm sorry. GREENWATER (smiles) Kelly, it's fine. INT. BUILDING HALLWAY--DAY Nassar reached Greenwater's door and peers in. He sees the waiting room, and all three receptionists through the open window. NASSAR . . . at the twilight's last gleaming. Nassar reaches into his jacket and pulls out a gun before reaching for the doorknob. NASSAR Whose broad stripes and bright stars . . . INT. GREENWATER'S PRACTICE - WAITING ROOM--DAY We see the door open and Nassar walks in still singing. NASSAR . . . through the perilous fight. We see Nassar point his gun at the open receptionist window. The man who is sitting in the chair coils as he sees the gun, coiling as he raises his hands and arms to cover his head. We see the receptionists notice Nassar and his gun pointed at them. They recoil in pure terror. INT. GREENWATER'S OFFICE—DAY GREENWATER Are there any questions about any of those papers? KELLY Well, actually, I have a few - DORA (O.S., distant) No!!! Kelly and Greenwater look towards the door in response to the shout, just as a gunshot rings out, followed by screaming. KELLY That sounded like a gunshot. They are both on their feet just as the second shot rings out, following by more screaming. GREENWATER What the hell? We follow Kelly and Greenwater as Greenwater opens the door and runs into the hallway. Kelly follows her. INT. GREENWATER PRACTICE - RECEPTIONIST AREA - GREENWATER'S P.O.V. Greenwater rushes to the receptionist area as we hear Dora and RECEPTIONIST #1. We see files and papers scattered around on the floor. We also see Dora and RECEPTIONIST #1. They are hysterical and crying, kneeling beside Lucy. We can see by the blood on Lucy's blouse that she has been shot. Dora has her hand on Lucy's neck, like she's trying to find a pulse. She pulls back suddenly. RECEPTIONIST #1 (hysterical crying) She's DEAD! Oh, God, she's dead! BACK TO THIRD PERSON We see that Kelly is now standing beside Greenwater, and both women are horrified. GREENWATER (disbelief) What the hell happened? DORA (hysterical crying) He just . . . he SHOT her! GREENWATER Who? Dora tries to answer, but she's too upset to respond and just whimpers as she covers her mouth. RECEPTIONIST #1 points toward the waiting room, but she doesn't say anything. Kelly runs to the door and opens it. INT. WAITING ROOM--DAY We see the door open and Kelly rushes out. We see the man huddled in his chair, his arms covering his head. Kelly looks at him and starts over, but she stops suddenly and stares down at the floor. - KELLY'S P.O.V. In front of the receptionist window is NASSAR. He is sprawled out on the floor face down, the gun still in his hand. Around his head is a pool of blood. He is definitely dead. BACK TO THIRD PERSON We see the look on Kelly's face. It's a mixture of shock and terror. GREENWATER (O.S.) Kelly? Kelly swallows and takes a deep breath. KELLY You better come see this, Dr. Greenwater. A few moments pass before Greenwater walks over to Kelly. She looks down where Kelly is staring. She sees NASSAR and gasps slightly, her eyes widening. GREENWATER (whispers) Mark. We see Kelly glance at Greenwater then back at Nassar. Hold on their faces. FADE OUT END TEASER COMMERCIAL BREAK OPENING CREDITS OPEN ACT I FADE IN EXT. LONE GUNMEN HQ - MORNING We see the VW van parked beside the warehouse, and Jimmy's car beside it. The sky is gray, and it's pouring down rain. There is an occasional flash of lightening, and a rumble of thunder. LEGEND indicates: TWO DAYS LATER 8:43 AM INT. LONE GUNMEN HQ - FIRST FLOOR We see a pair of familiar fingerless-gloved hands typing at a computer, a headline appearing on the familiar program we've come to know as what the Lone Gunmen use to develop all their headlines. This one, we can see, reads, "Code Red Worm = Code Red Conspiracy". We pull back and see Frohike - fully dressed - saving the headline. He takes a small disk out of the disk drive, reaching for a small plastic case at the same time. FROHIKE (as he puts the disk in the case) Oh, yeah, this is good. In repeat fashion of 'The Lying Game' episode, we see Frohike toss the disk to Langly - also fully dressed. Langly is standing a distance away and catches the disk with the manila envelope that's going to the printer. We see Jimmy in between them, leaning over and writing on the workbench. Like the others, he is also dressed for the day. We can see he's writing out the check for the printer. LANGLY Come on, Jimmy. Need your check. JIMMY Almost finished. Jimmy finishes writing out the check and tears it from his checkbook. He hands it to Langly. Langly stuffs the check in the envelope and seals it as Frohike walks over. FROHIKE Thanks, Jimmy. Now, haul tail. We need to get that story printed before the first of the month. LANGLY (hands the envelope to Jimmy) Remember, red lights are for suckers. FROHIKE (points a finger at Jimmy) Just DON'T get into an accident. Last thing we need around here are more expenses than we already have. JIMMY I'll be careful. Jimmy and the others look up as they hear footsteps coming downstairs. Byers walks onto the scene, dressed in one of his brown suits. He is also carrying a couple of black umbrellas. BYERS Everything ready? FROHIKE Ready and waiting. What took you so long? BYERS (holds up the umbrellas) Wouldn't want anyone or anything to get wet. (looks at Jimmy) Ready to go, Jimmy? Jimmy nods, just as the front buzzer sounds. Everyone looks toward the door curiously. Frohike, being the closest, goes to answer it. CLOSE ON - We see the monitor that's connected to the front door camera. There is a person in a bright poncho standing at the doorway. The poncho glistens from being covered with water. We can't tell if it's a man or a woman because the hood covers the face, but the person is carrying a purse. PULL BACK - Frohike comes to the door. He looks oddly at the screen before unlocking the locks and opening the door. The hooded person pulls the hood off, and we can see it's Kelly Grace. Her hair has been pulled back into a ponytail, but we can't see what she's wearing at this time. She looks a little uncertain at Frohike, like she's not sure if she's in the right place. - KELLY'S POV Frohike has a curious look on his face. In the background, we see the other three Gunmen are looking towards them curiously, but they remain where they are. FROHIKE Yes? BACK TO THIRD PERSON KELLY (uncertain) Um . . . I'm not sure if this is the right address, but, I, um . . . (beat) Is this where I can find the editors of The Lone Gunman newspaper? By this time Byers, Langly, and Jimmy have joined Frohike at the doorway. BYERS Can we help you, Miss . . . ? KELLY Grace. Kelly Grace. JIMMY (confused) Like the chick from those Alfred Hitchcock movies who became a princess? The three Gunmen look at Jimmy, surprised at his comment. JIMMY (off the Gunmen's look) What? LANGLY How in the hell did you know that? JIMMY (shrugs) I like Alfred Hitchcock movies. FROHIKE And it's Grace Kelly, not Kelly Grace, you moron. KELLY (sighs, slightly agitated) Look, if this isn't where I can find the editors of The Lone Gunman, then can you tell me where I might find them? It's important. Byers pushes past his associates, giving a nervous smile. BYERS You're in the right place, Miss Grace. We're the editors of The Lone Gunman. Kelly gives them a look of disbelief. BYERS (holds out his hand) I'm John Byers, and these are my associates. (indicates each Gunman with his hand as he talks) Richard Langly, Melvin Frohike, and Jimmy Bond. While the others simply nod when Byers says their name, Jimmy gives a big grin and waves. As Kelly shakes Byers' hand, we see she has a look on her face that says 'what have I gotten myself into?'. KELLY (slowly) Okay. Not exactly what I had in mind . . . The Gunmen look at each, knowing by Kelly's reaction that she thinks they're complete oddballs. There is a moment of uncomfortable silence. BYERS (quickly) Uh . . . why don't you come in out of the rain and you can tell us your story? KELLY (rolls her eyes) Why not? Frohike moves aside as she steps inside. INT. LONE GUNMEN HQ—DAY A few moments later. Kelly is sitting at one of the workbenches, her legs crossed. She is out of her poncho, and we can see it draped over the workbench nearby. Next to it is her purse. She is wearing black pants and a dark green turtleneck. Her shoes are black. Byers is standing off to her side. Langly and Frohike are sitting nearby, and Jimmy is standing behind them. It's pretty similar to the setup in 'The Lying Game' where Carol Strode was sitting in the warehouse, and the guys were around her. This time, however, Frohike and Langly are not swooning over her like they did with Carol. KELLY Two days ago, one of the women I work with was gunned down. I have reason to believe that it was a some kind of . . . what do you call it - a hit. The Gunmen look at each other. LANGLY Why do you say that? KELLY Because of a lot of reasons. (reaches for her purse and pulls four sheets of paper out) Starting with these four. Kelly hands the papers to Byers, who skims the first one. -BYERS' POV The first paper has nothing on it but ink handwriting. We see what it says as Byers reads it out loud. BYERS (reading) Kelly, we need to talk. It's urgent. I came across something while I was sorting files in Patricia's office yesterday, and I don't think I was supposed to see them. I can't risk saying anything more, but please look at them. BACK TO THIRD PERSON BYERS (reading) Something's going on, and I think Patricia knows I know about this, but I don't know exactly what IT is about. That's why I'm hoping you'll believe me. If something happens, please take these to the police. Lucy. (looks at Kelly) Who's Patricia? KELLY My boss. Dr. Patricia Greenwater. She's runs a private practice in Richmond treating people with psychological disorders. Byers hands the paper to Frohike. Frohike skims it while Langly and Jimmy look on. Byers reads the other three papers. JIMMY Is she a psycho . . . uh, psycho . . . lologist. Langly and Frohike share a look of exasperation and roll their eyes. LANGLY (annoyed) Psychologist, Jimmy. JIMMY (nods) Yeah, that. KELLY Actually, she's a psychiatrist. LANGLY (looks at Kelly) What's the difference? BYERS (glances up) A psychiatrist has a medical degree and the ability to prescribe medication to his or her patients, Langly. A psychologist doesn't. Byers goes back to reading the papers. -BYERS' POV We see copies of what appear to be files. There are names, dates, and more handwriting, but we can't see anything clear enough to read it. BYERS These appear to be patient files. BACK TO THIRD PERSON KELLY These three patients have undergone a drug treatment program in the past four months because of anxiety disorders. FROHIKE What was the drug? KELLY (shrugs) I don't know. It's not mentioned in any of the files, and I only started interning there about six months ago. I didn't have access to any of the files. There are still some I'm not allowed into. LANGLY So, why have copies of the files? BYERS Well, it appears that all three patients started the treatment at the same time. (beat as he flips through the papers) And there's a cryptic handwritten message on each one. 'Results unexpected, but will continue with treatment despite setbacks.' (looks at Kelly) What setbacks? KELLY At first I wasn't sure, but then it dawned on me what she was referring to. JIMMY What? KELLY All three of those patients have died within a few weeks of each other. One shot himself, one was hit by a truck, and the third patient fell down a flight of steps and died the next day from the injuries. LANGLY That could be just a coincidence. You said so yourself that all three of them were being treated for anxiety disorders. KELLY I don't think it's just a coincidence. FROHIKE Why not? KELLY Because I remember all three of those patients clearly. Before their treatment they acted a specific way, depending on what they had been diagnosed with. Mr. Tuttle was diagnosed with GAD, Mrs. Shah with SAD, and Mr. English with PD. Jimmy gets a confused expression on his face. BYERS (off Jimmy's look) They're specific types of anxiety disorders, Jimmy. GAD, or Generalized Anxiety Disorder, is . . . well, think of someone that is constantly being jittery all the time for no apparent reason. SAD, or Social Anxiety Disorder, is where the person thinks that other people are very competent in public and the sufferer is not. Panic Disorder is something more serious, in which the suffer - KELLY -- experiences spontaneous anxiety attacks at a disruptive frequency. All four Gunmen look at her, almost like they were surprised that she actually knew something. BYERS (looks back at Jimmy) And that's basically the gist of it. (he looks at Kelly) That still doesn't explain why you think their deaths are related. KELLY Because after they started their treatment, all of them starting acting odd. FROHIKE How so? KELLY It was like they were experiencing extreme bouts of paranoia. I mean, here were these nice people who had some problems, but . . . it was nothing compared to how they behaved, especially around the times of their deaths. There was no evidence that I recall suggesting any signs of paranoia or anything related. I would remember something like that. BYERS You think this drug caused the paranoia and that Dr. Greenwater knows about this, and that's why your friend was killed? KELLY That's exactly what I'm saying. I think Dr. Greenwater wants to keep it quiet, and she's not above killing in order to do that. (a beat) Or using other people to carry out her dirty work. The Gunmen look at her oddly. KELLY (off the Gunmen's look) The gunman who killed Lucy and then himself was another patient of Dr. Greenwater's. His name was Marcus Nassar. JIMMY Was he also involved in the same drug treatment as the others? KELLY If he was, I don't know about it, but I seriously doubt it. FROHIKE Why do you say that? KELLY Mr. Nassar was suffering from PTSD - Post Traumatic Stress Disorder - because he was in the Vietnam War. He was taking medication for his problem, that I remember from his personal file, but it was a selective serotonin reuptake inhibitor. I'm pretty sure it wasn't the same drug that the others were taking. (sighs) Look, I know this sounds crazy, but I believe that Dr. Greenwater used Mr. Nassar to kill Lucy. Byers looks at the others. KELLY (off Byers' look) You don't believe me, do you? Byers hesitates. BYERS (sighs) Miss Grace, may I ask why you didn't go to the police with this information? KELLY I was going to, but when I talked to my roommate about this, she told me I didn't have enough information to go to the police just yet; I needed to get more evidence, otherwise going to the police could mean trouble for me if what I was saying was true and Dr. Greenwater found out I knew anything. So, I asked her what I should do, and she said her brother subscribes to a paper that does nothing but investigate stuff similar to what happened with Lucy, and they might be interested in helping me. She called her brother up, and he told me about you guys and where I could find you. (beat) So, will you help me out? Jimmy, Langly, and Frohike look at Byers. BYERS (off the Gunmen's look) We'll look into it, Miss Grace, and call you if we come up with anything. Kelly nods and grabs her things as she stands up. KELLY I appreciate this. Byers smiles as he leads her to the door and lets her out. He returns to the group. LANGLY (looks at Byers) So, we gonna look into it? FROHIKE Could be a great scoop if it turns out to be true. BYERS No doubt about that, but there are a few uncertainties. I mean, Miss Grace could be telling the truth. Or . . . she could be just looking too much into a tragic situation. Her friend was murdered, after all. FROHIKE Well, we'll never know either way if we just stand around here all day. I say we go check it out. JIMMY Me too. LANGLY Ditto. Everyone looks at Byers. He looks at them briefly, then back at the papers Kelly gave them, which are now on the workbench. He glances back at his associates. BYERS We have an issue to get to the printers. Jimmy looks disappointed. Langly and Frohike share an annoyed look, and they're about to let their sarcasm fly, but Byers stops them by holding up his hand. BYERS Then we'll go to Richmond to investigate Dr. Greenwater. Jimmy breaks into a grin. Langly and Frohike look satisfied. CUT TO - EXT. COURTYARD PAVILION - AFTERNOON We're back at Richmond now. It's the same day. It's cloudy, looking like it's going to rain any minute. There aren't too many people out on the street. A few cars drive by as we focus on the VW van parked outside the Courtyard Pavilion. LEGEND INDICATES: 3:24 PM INT. BUILDING HALLWAY We hear the ping of the elevator. The door opens and Langly steps off. He isn't dressed any differently than he was earlier. He starts walking down the hallway. LANGLY (hushed voice) You know, this wasn't exactly what I had in mind when I agreed to check this out. There's no way this is going to work. INT. VW BUS -- DAY We see Byers and Frohike in the back, working at some equipment and wearing headsets. Jimmy is sitting in the driver's seat, turned around and watching them. BYERS It'll work, Langly. You're not doing anything complicated. LANGLY (O.S. through headsets) Easy for you to say, Byers. You're not the one who is walking into a suspected murderer's office to pretend he's a nutcase. INT. BUILDING HALLWAY—DAY FROHIKE (O.S. through earpiece) Why do you think we chose you, Langly? You don't have to do THAT much pretending. LANGLY (sarcastically) Gee, thanks. BYERS (O.S. through earpiece) Okay, guys. Let's focus on what we came here to accomplish. Langly, you just need to convince Dr. Greenwater that you have an anxiety disorder and need this mystery drug Miss Grace was telling us about so she'll write up a prescription. It's not that hard. LANGLY If this somehow works, and I'm able to convince Greenwater that I have ADD - FROHIKE (O.S. through earpiece) It's GAD, not ADD. INT. VW VAN—DAY LANGLY (O.S. through headsets) What's the difference? BYERS There's quite a difference, Langly. And don't worry about convincing her. Those documents we created earlier were successfully faxed to Greenwater's office, remember? And if they try calling to verify any information, they'll ring here, so don't worry, okay? LANGLY (O.S. through headsets) Whatever. Even if I'm able to convince Greenwater I have GAD, how will we even know that the drug she gives me is the same one that killed the other patients? Byers and Frohike look at each other. BYERS We'll worry about that when we get there. INT. HALLWAY Langly stops in front of the door to Dr. Greenwater's practice. Langly turns the knob and walks into the waiting room. INT. GREENWATER'S PRACTICE - WAITING ROOM--DAY We see Langly walk into the waiting room. We see no other people in the waiting room as he walks over to the now closed receptionist door. He knocks on it, and it slides opens. It's Dora. We can see that she's still visibly upset from the shooting incident, but she keeps her composure. DORA Yes, may I help you, Miss? LANGLY (annoyed) Do I look like a Miss to you? BYERS (O.S. through the earpiece) Langly! Dora gives him another glance and looks apologetic. DORA Sorry, sir. We've been a little . . . um, distraught recently. I'm sorry. LANGLY (mumbled) Yeah, whatever. (louder, but still annoyed) I'm here to see Dr. Greenwater. I have an appointment. We see Dora grab the appointment book and flip it open. DORA Name, please. LANGLY Johnson. Tim Johnson. Langly drums his fingers impatiently as he looks around the waiting room while Dora searches the page. She taps it after a few moments. DORA For three-thirty, correct? Langly nods. DORA I'll tell Dr. Greenwater you're here. Please take a seat. As Dora gets up and leaves, Langly goes to one of the chairs and plops himself into it. He picks up a magazine from the table and starts thumbing through it. LANGLY (softly) So far, so good. He looks up as the door to the back area opens and Kelly walks out, looking at a file. KELLY (without looking up) Mr. Johnson? LANGLY That's me. Kelly looks up as she recognizes the voice. Her eyes widen as she sees Langly toss the magazine back on the table and get up. He walks over to her and, seeing her looking at him oddly, gives a big fake smile and holds his hand out. LANGLY I'm Tim Johnson. Langly shakes Kelly's hand as he gives her a look that says, 'just play along'. Kelly recognizes the look and gives a quick nod as she smiles. KELLY Mr. Johnson. This way, please. We see Kelly lead Langly back toward Greenwater's office. We can see her eyes dart back in Langly's direction as they walk, but she doesn't turn around. Finally, they stop at Greenwater's door. Kelly knocks. GREENWATER (O.S. from other side of door) Come in. INT GREENWATER'S OFFICE Greenwater is sitting at her desk, writing. She looks up as the door opens and Kelly and Langly walk in. KELLY Mr. Johnson is here for his appointment, Dr. Greenwater. GREENWATER Thank you, Kelly. Kelly nods as she walks over to the desk and hands Greenwater the file. Greenwater begins reading the file as Kelly turns to leave. As she turns and walks past Langly, we see Kelly shoot once last glance at him. Langly gives a quick shrug. Kelly leaves, closing the door behind her. Greenwater flips through the file, then glances at Langly. He tries to smile nonchalantly. Greenwater indicates the couch. GREENWATER Please, sit. Langly looks at the couch, then walks over and sits down. We can see that even now, he's starting to get a little uncomfortable. He watches Greenwater as she finishes up her writing and stands up. She walks over to her chair next to the couch, file in hand, and sits down. GREENWATER (as she reads file) Well, your file seems pretty straightforward. Your previous doctor has diagnosed you with General Anxiety Disorder . . . it says here that you are constantly worried about what people think about your hair, correct? At the mention of 'hair', Langly looks up quickly. By the look on his face, we can tell he wasn't expecting that. He looks unsure. LANGLY Uh . . . FROHIKE (O.S. from earpiece) Just go with it! LANGLY (slowly) Yeah . . . my hair . . . I, uh . . . (beat) People don't seem to like my hair! He's talking louder by this time, his comments aimed directly at Frohike. We see Greenwater looking at him oddly. INT. VAN--DAY We see Frohike smirking from his position in the back. Byers gives him a look. We can hear Langly's voice in the background as he's talking to Greenwater, but we can't understand it over Byers. BYERS Frohike, why did you do that? FROHIKE What? It's the truth. I don't like his hair. He needs to cut it. BYERS But why did you put it in his file? No way Greenwater's going to believe he has GAD because of his hair. FROHIKE Oh, stop giving me a hard time, okay? It was the only thing I could think of. Byers sighs as he rubs his head with his hand. CUT TO - EXT. COURTYARD PAVILION - AFTERNOON The scenery hasn't changed much since we last saw the front of the building, except now it's raining - hard. LEGEND INDICATES: 4:19 PM INT. VW VAN--DAY We see Byers and Frohike, still in the back of the van, listening to Langly and Greenwater on their headsets. Jimmy's still in the front seat, but now he's dozed off, his head and arms resting on the steering wheel. We can see Byers and Frohike look bored as we catch the conversation between Langly and Greenwater. FROHIKE I can't believe we had to listen to this psychobabble for almost an hour. At least she seems to believe him. Byers gives Frohike a tired look and nods in agreement. GREENWATER (O.S. through the headsets) . . . and I think I see exactly what your problem is, Mr. Johnson. Byers and Frohike sit up straighter and listen more intently. Frohike glances over at Jimmy and slaps him hard. Jimmy slowly wakes up. JIMMY (drowsy) Wha-? LANGLY (OS through the headsets) What? I'm not crazy? GREENWATER (O.S. through the headsets) No, you're not crazy. You've been bombarded all your life with comments about your hair. It's natural to think that even now, it would still bother you. INT. GREENWATER'S OFFICE We see Greenwater sitting in her chair and Langly sitting on the couch, just like when we left them. LANGLY Cool. (beat) So, uh, what now? Greenwater gets up and walks to her desk. She starts writing on a piece of paper. GREENWATER Well, since your doctor had tried other forms of treatment with you, all unsuccessful by his accounts and by our discussion today, I'm going to recommend a new drug. It's an antidepressant that I've started working with a few months ago. Langly perks up slightly. LANGLY Really? Greenwater nods. GREENWATER I'll be right back. I need to go write up your prescription. Langly watched Greenwater as she leaves the office. When he door is closed, he touches his ear. LANGLY Did you guys catch that? BYERS (O.S. through earpiece) Loud and clear, Langly. Good work. INT. VW VAN: DAY LANGLY (O.S. through the headsets) Yeah, no thanks to you guys. What was with the hair? FROHIKE (chuckles) Oh, don't take it personally, dude. LANGLY (O.S. through the headsets) Bite me, Frohike. BYERS Guys, come on. We still have work to do. Langly, what are you doing now? INT. GREENWATER'S OFFICE—DAY LANGLY Sitting on the couch. BYERS (O.S. through earpiece) Are there any filing cabinets in the room? - LANGLY'S POV We see Langly look around the office until he stops at the set of filing cabinets next to the bookshelf. BACK TO THIRD PERSON LANGLY Yeah, she's got some. Why? BYERS (O.S. through earpiece) Go over and see if you can find any more information on the three patients Miss Grace told us about . . . William Tuttle, Elizabeth Shah, and Timothy English. Langly gets up. LANGLY See what I can do. Langly walks over to the filing cabinets and opens a drawer. He starts rummaging through the many files. - LANGLY'S POV We see Langly stop at a file labeled 'William Tuttle.' LANGLY B-I-N-G-O. One down, two to go. BACK TO THIRD PERSON We see Langly pull the file out and start leafing through it. LANGLY Just answer me this. Why do you need me to get these - GREENWATER (O.S.) What the hell do you think you're doing? Langly freezes, his eyes going wide. He slowly turns around and sees Greenwater standing next to the door. She looks very angry. LANGLY Uh . . . I, uh . . . (beat) This isn't what it looks like. Greenwater crosses her arms. We can see she has a piece of paper in her hand. Langly notices it. GREENWATER It looks to me like you're rummaging through my patients' files. Greenwater closes the door and crosses the room to her desk. She put the piece of paper down on her desk and picks up the phone, dialing a number. GREENWATER: Security, this is Dr. Patricia Greenwater. I need some assistance. - LANGLY'S POV We see him eye the piece of paper as he puts Tuttle's file on the filing cabinet. GREENWATER (beat) Room 411. (beat) Thank you. BACK TO THRID PERSON As Greenwater hangs up the phone, Langly bolts over and grabs the piece of paper. GREENWATER Hey! Langly runs as fast as he can out of the office, clutching the piece of paper tightly in his hand. We seem him look at it as he runs down the office. LANGLY Guys, this is it. It's a prescription for some kind of drug. FROHIKE (O.S. through earpiece) What does it say? LANGLY Can we worry about that later? I'm about to have building security on me! INT. VW VAN—EARLY EVENING We see Byers and Frohike look at each other. FROHIKE (sarcastically) Perfect. Byers and Frohike scramble around as Jimmy starts the engine. Frohike jumps into the front seat. BYERS Just hurry up, Langly. INT. GREENWATER'S PRACTICE - HALLWAY Langly runs past the receptionist area, past Kelly and the other receptionists. He gives Kelly a nervous smile as he runs by her. - KELLY'S POV We see Langly run out into the waiting room. From down the hallway, we see Greenwater emerge from her office. GREENWATER Come back here! BACK TO THIRD PERSON INT. BUILDING HALLWAY—EARLY EVENING We see Langly run out of Greenwater's practice and down the hallway toward the elevators. He stops and starts pressing the down button rapidly, looking back toward Greenwater's office. LANGLY Come on, you stupid elevator! We hear the ding and see Langly look releived as the doors open. LANGLY Thank you. LANGLY'S POV Instead of the elevator being empty, there are three security guards standing there. GUARDS'S POV Langly's eye widen. LANGLY (high-pitched girl scream) Ahhhhhhh!!!! BACK TO THIRD PERSON We see Langly run down the hallway. The guards start chasing him. GUARD #1 Stop! Langly sees a door at the end marked, 'Stairs.' He bolts inside and runs down the stairs. Moments later, the guards burst into the stairwell and follow him. We see Langly running down, taking three steps at a time. LANGLY Oh, man, oh, man, oh, man . . . GUARD #2 Stop right there! INT. BUILDING HALLWAY - FIRST FLOOR We watch the stairwell entrance as the door bursts open and Langly comes running out. We seem him run down the hallway toward the front entrance. LANGLY Guys! We see the guards run out of the stairwell entrance as Langly reaches the front entrance. EXT. COURTYARD PAVILION--DAY It's still raining as we see Langly run out of the building. He looks confidently back at the building, smirking as he runs toward the VW van parked at the curb. His foot suddenly slips out from under him. He falls on his back, his arms flailing, yelping as he lands on his back - hard. LANGLY (groans) Ooh. He looks up and sees the piece of paper beside his hand. It's smudged, but still legible. Before he can grab it, however, a big gust of wind blows the paper away into the street - right in front of a street cleaner. LANGLY'S POV We see the paper get swept up into the bristles of the brush on the street cleaner. BACK TO THIRD PERSON LANGLY (horrified) Nooo! He slowly gets up, wincing. He looks back and we see the guards emerge from the building. Langly limps to the VW Van. The side door slides open and Langly stumbles in. INT. VW VAN We see Langly lying on the floor, moaning, as Byers slides the door shut. BYERS (looks at Frohike) License plate. We see Frohike press a button on the console. EXT. VW VAN - REAR The license plate on the van flips up out of sight. The guards make it to the curb just as the van speeds away. FADE OUT END ACT I COMMERCIAL BREAK OPEN ACT II FADE IN EXT. HOTEL We see the outside of a two-story hotel. It's not exactly rundown, but it's not fancy either. The outside is white, and the railings on the second floor are black. We can see cars parked in the parking lot. LEGEND INDICATES: RED ROOF INN We zoom in toward the first floor, to a plain brown door. The numbers read 126. LANGLY (O.S.) Man, this sucks. INT. RED ROOF INN - ROOM 126 We see the interior of the Gunmen's bedroom. It's pretty much the same set up as the room they were in during 'Tango de los Pistoleros': two beds with ugly green sheets and white pillows, an ugly brown couch underneath the only window in the hotel room near the front door, a television set across the beds, and a dresser next to the television. The walls are painted off white, and the carpet is cheap and the same green color as the sheets. There is a table off in one side with a laptop and some other equipment on it. Two chairs are pushed underneath it. Langly is lying on one of the beds, spread eagled and staring up at the ceiling. It's obvious he's in pain. Jimmy is working the television set, but not having much luck finding anything to watch. Frohike is on the other bed, sitting on the edge, and Byers is sitting on the couch, looking slightly upset. LANGLY (directing comment to Byes) You know, everything was going just peachy until you said go look for the files. BYERS We needed to see those files, Langly. There might have been more evidence in there. LANGLY And what about the drug, huh? (holds up one hand, his index finger and thumb millimeters apart) I was this close. Now what? We got nothing. (moans and rubs his side) Except a sore butt. Jimmy looks over at Langly sympathetically. FROHIKE What about the psychiatrist herself? BYERS (looks at Frohike) What about her? FROHIKE We never investigated her. Langly slowly sits up, looking at Frohike. FROHIKE If what Miss Grace was telling us about Greenwater, then it sounds like this shrink may not be the only one who's hiding something. BYERS You think someone else is involved with this? Frohike give him a knowing look. Byers nods, understanding. BYERS Like the manufacturer of the drug itself. Using her to test the drug out on the people. Everyone looks toward Langly. He sighs. LANGLY Fine. I'll see what I can do. Langly slowly stands up, wincing, and walks over to the table and sits down in one of the chairs. He starts typing as the other Gunmen join him. Byers takes the other chair, and Frohike and Jimmy stand behind them. They watch as Langly types for a few moments before there is a knock on the door. The Gunmen look at each other. Frohike walks over to answer it. He opens the door and sees Yves standing on the other side. She's dressed in one of her black outfits, her hair loose. FROHIKE What are you doing here, Yves? At the mention of Yves Byers, Langly, and Jimmy look over as Yves walks in. YVES Same as you: Checking into the murder of Lucy Arnold. Frohike closes the door as Yves walks over to the other Gunmen. Frohike is close behind her. YVES I heard about your little fiasco at Dr. Greenwater's office earlier today. (smirks) Nice job, Langly. LANGLY Bite me, Yves. What do you know about Greenwater? YVES That she's using her patients as guinea pigs for an experimental anti-depressant drug. That the drug actually causes paranoia in its subjects, and all of them have ended up dead. I'm assuming Miss Kelly Grace has contacted you about that. The Gunmen share another look that says, 'how the hell does she figure this stuff out?' BYERS Miss Grace was very helpful in providing us as much information as she could. She just didn't know precisely what drug Dr. Greenwater was using, and that's what we really need. YVES I know what the drug is. The Gunmen look up at her. Langly goes back to typing, but we can see he's listening in. YVES (off the Gunmen's look) I snuck into Greenwater's practice last night and was able to get information on the drug. At least the name, anyway. JIMMY Why are you interested in this? YVES Because someone is subjecting people with anxiety disorders to tests without there knowledge. These people are being murdered. Someone has to stop it. LANGLY (snidely, not looking up from his laptop) Sure it's not because of money? YVES (smiles) You think everything is about money, Langly? LANGLY With you, yeah. YVES Then you don't know me that well. (beat) I'm willing to share my information if you're willing to let me work with you. The Gunmen share a glance. Byers nods. BYERS Very well, Yves. We can work together. What's the drug's name? YVES Nalavil. I wasn't able to get a location where the drug is being manufactured. LANGLY Hey, I got something. Everyone leans over and peers at the laptop. We can see the screen has a bunch of different windows opened on it. Some have text on them, some have numbers. FROHIKE What is it? LANGLY I checked out her bank records. Quite a bit of money she has, especially for a shrink. JIMMY How much money does she have? LANGLY (reads from the laptop data he found) A little over fifty-thousand dollars. Payments made at the beginning of the month for four months. FROHIKE The same time Greenwater started her drug treatment. BYERS It looks like whoever's manufacturing this Nalavil is paying Greenwater to keep her quiet about it. (beat) Did you back trace the payments, Langly? LANGLY (typing) Of course. The bucks stopped at one Polk Pharmaceuticals. Address lists them right outside the city. BYERS We should pay a covert visit there tonight. See what we can find about who's in charge of manufacturing this Nalavil drug. Might be the same person who's paying Greenwater to keep her quiet. FROHIKE Then we can nail Greenwater's ass to the wall. YVES But not for Lucy Arnold's murder. The Gunmen look at her oddly. BYERS What do you mean? YVES If there IS any evidence that would connect Greenwater to Polk Pharmaceuticals and their knowledge about this Nalavil drug, then you would only be able to have Greenwater implicated in the murders of those three patients that were taking the drug. You still have to figure out a way to connect her with the murder of Lucy Arnold. JIMMY And how do we do that? YVES There has to be some information at Greenwater's office that could implicate her. I'm going back there tonight, if anyone wants to join me. LANGLY What about Polk Pharmaceuticals? BYERS We'll split up. Langly and I will go to Polk Pharmaceuticals. JIMMY Can I come? Langly looks at Byers and shakes his head. Byers ignores Langly and nods. BYERS Sure, Jimmy. Langly groans. Jimmy gives a big grin. FROHIKE I'LL go back to Greenwater's office with Yves. (glances at Yves) Of course, I don't even know why you should tag along. YVES Because I can get past their security system, Melvin. (smirks) Unless you want a repeat of what happened to Langly. We see Langly roll his eyes. CUT TO - EXT. POLK PHARMACEUTICALS - NIGHT We see the exterior of Polk Pharmaceuticals. It's a three-story glass building. None of the lights inside the building are on. There are trees sporadically placed around the perimeter, as well as lights. The parking lot is empty. LEGEND INDICATES: Polk Pharmaceuticals 10:13 PM INT. POLK PHARMACEUTICALS - HALLWAY It's dark inside, with only dim hall lights shining from the ceiling. The floor is black and shiny, just like the Courtyard Pavilion's floor. We see numerous doors and windows with blinds. Two figures suddenly emerge around the corner, and we can see it's Byers and Jimmy. They are dressed in their black outfits, and we can see they're wearing headsets and carrying flashlights. BYERS (hushed voice) Where to, Langly? INT. VW Van--NIGHT We can see Langly sitting in the back, typing at a computer. He is also dressed in black and wearing a headset. LANGLY From the info I was able to get off their database, the Nalavil is being manufactured in Lab 2-A. He looks up at the computer. - LANGLY'S POV We see a map of the layout of the building, showing rooms and offices. There are two red dots moving down a hallway. We can assume they're Byers and Jimmy. LANGLY You should be getting close. On your right. INT. HALLWAY We see Byers and Jimmy stop at a door. Byers shines his flashlight on it. The number on it reads 2-A. Byers and Jimmy share a satisfied smile. BYERS We're here, Langly. He reaches for the doorknob, but Jimmy stops him. JIMMY (points) Look. Byers looks to where Jimmy was pointing. Beside the door is a numerical keypad. Byers sighs. BYERS Numerical keypad, Langly. Can you get us in? LANGLY (O.S. through the headsets) Working on it. Byers and Jimmy wait a few seconds, then they hear a small click. LANGLY (O.S. through the headsets) Try it now. Byers turns the doorknob, and the door opens. He and Jimmy quickly go in. Byers shuts the door behind him. INT. LAB 2A--NIGHT Both Byers and Jimmy shine their flashlights around the room. BYERS (to Jimmy) Remember, we're looking for samples of the drug. It's Nalavil, okay? JIMMY (nods) Got it. The two split up and go in opposite directions. We see them looking through cabinets and drawers, coming up empty-handed. We see Jimmy at a desk near a wall. He's leafing through some papers that were left there, shining his flashlight right on them. - JIMMY'S POV We can see the papers are shipping order, having rows and columns of numbers and text on them. BACK TO THIRD PERSON Jimmy looks up. -BYERS' POV JIMMY Byers. Byers glances up from one of the cabinets he's looking in. He walks over, and Jimmy hands him some of the papers. Byers holds up his flashlight and skims the papers. BYERS Shipping orders. Byers stops his flashlight on one area. We see one name and address: Dr. Patricia Greenwater, 411 Courtyard Pavilion, Richmond VA, _____. BYERS Greenwater's address is on all of them. BACK TO THIRD PERSON JIMMY So, we got the evidence? BYERS Some of it, Jimmy. All this tells us is that the drug was shipped to her. We need to find out who's in charge of this - Byers stops suddenly as his flashlight shines over one area. He tilts his head. JIMMY What is it? BYERS (touches his mouthpiece) Langly, find out who Chester Rodgers is. His name and signature are on every shipment order. INT. VW VAN--NIGHT Langly is typing away at the computer. We see the screen fill up with various commands as he types. LANGLY On it. We watch the screen as it comes up with a window. The open window turns out to be a personnel file. There is a picture there of a man, mid to late thirties, with dark hair. Some writing is beside the picture and we can see what it says. LANGLY (reading) Chester Harold Rodgers, DOB is 11-7-62. He's the R&D Director of Lab 2A. Current Project is Nalavil. BYERS (O.S. through headset) Sounds like our man. Langly types rapidly on his computer. We see the computer screen changes to show more bank records. LANGLY Looks like he is. I brought up the bank records and it turns out that he made four deposits in the past four months, all on the same days that Greenwater's bank account received payments and all for the same amounts that Greenwater received. We see Langly pull up another window. It looks similar to the shipping orders Byers and Jimmy were looking at. LANGLY I also pulled up the shipping records off the Polk Pharmaceuticals database. There are no other places that Rodgers has had this Nalavil shipped to, except to Greenwater's practice. INT. LAB 2AM AT NIGHT LANGLY (OS through headsets) This is the guy, Byers. BYERS Okay. (smiles at Jimmy) Good work, Jimmy. Byers folds up the papers and hands them to Jimmy. BYERS Don't lose those papers. Now let's find some samples of the Nalavil. Jimmy tucks the papers into his pants pocket, and the two split up again. We see them searching through cabinets once more. - BYERS' POV Byers opens a cabinet and shines his flashlight inside. There are rows of small, green and white cardboard prescription boxes. They're all labeled in bold letters 'Nalavil.' Byers grabs a box and opens it. Inside are three packets of foil wrapped pills, six to a packet. BACK TO THIRD PERSON Byers turns to Jimmy, who's searching a cabinet nearby. BYERS Jimmy. Jimmy looks up and walks over. We see Byers hold out the pills. JIMMY That's the Nalavil? BYERS That's it. Now we can go. Byers closes the cabinet doors. Together, he and Jimmy walk to the front door. Byers opens it, and he and Jimmy walk out. After closing the door, Byers and Jimmy walk down the hallway the way they came. BYERS Langly, we got what we came for, and we're on our way out. LANGLY (O.S. through headset) Gotcha, Byers. See you at the front door. JIMMY Wonder how Frohike and Yves are doing? - CUT TO INT. GREENWATER'S WAITING ROOM - NIGHT -CLOSE IN We are facing the glass door. There are shadows and flashlight beams moving around in the hallway. The doorknob clicks and turns. - PULL BACK The door opens and we see Yves and Frohike walk in. They're both dressed in black and carrying flashlights. We can see Yves putting away a tool into her pants pocket as Frohike closes the door behind them. The two walk into the back area, past the receptionist area, to Greenwater's office. Yves opens the door slowly, and the two walk in. INT. GREENWATER'S OFFICE Frohike and Yves shine their flashlights around. FROHIKE (hushed) Now what? Yves points her flashlight at the filing cabinets. YVES There. The two walk over to the filing cabinets start going through the drawers together. INT. GREENWATER'S WAITING ROOM—NIGHT - CLOSE IN We see the doorknob silently turn and the door opens. A shadowy figure walks in, shutting the door quietly before crossing the waiting room and walking into the back area. INT. GREENWATER'S OFFICE--NIGHT Yves and Frohike are sorting through the files. FROHIKE There's nothing here. I thought that Grace said she saw his personal file. KELLY (O.S.) I did. A light beam is suddenly shining right on them. Yves and Frohike turn around as see the shadowy figure standing in the open doorway. Yves and Frohike shine their lights on the figure and we can see it's Kelly. She's dressed in black jeans, boots, and a black turtleneck. Her hair is pulled back into a ponytail. KELLY You know, you guys don't seem very good at sneaking about without getting caught. FROHIKE (angry whisper) What the hell are you doing here? KELLY Looking for evidence. Same as you. (looks oddly at Yves) Who are you? YVES Just someone who's interested in catching a killer, Miss Grace. KELLY (suspiciously) How did you know my name? FROHIKE How the hell did you get in here? Kelly holds up a set of keys and jingles them. KELLY I have access, remember? She walks over to the filing cabinet and shines her flashlight on the open drawers. KELLY What have you got? FROHIKE A whole lot of nothing. I thought you said you saw Nassar's file. KELLY I did, but it was from the files kept in the receptionist area. These are Greenwater's personal files on each of her patients. (beat) Look, considering what happened today, why don't you let me help? Yves glances at Frohike, who rolls his eyes. FROHIKE Why not? We're not having much luck. Kelly starts sorting through the files with Yves. Frohike decides to look around the office, starting with the bookcase. He shines his light on one row and starts reading the book titles. - FROHIKE'S POV There are different books of different sizes and colors on the row. All of them have titles dealing with medicine or psychology. The flashlight beam shines over one book with the title, 'Philosophical Issues In The 21ST CENTURY.' BACK TO THIRD PERSON Frohike's expression changes as he peers closely at the book. FROHIKE What the hell? He pulls the book off the shelf and looks at it. Frohike looks up as the right half of the bookshelf suddenly and quietly slides towards the right and stops. Frohike shines his light where the bookshelf used to be. - FROHIKE'S POV There is a small room behind where the bookshelf used to be. There are shelves with plastic cases and videos lining it. Off to one side is an odd looking device, something similar to the eye examination device used in optometrist offices, except a headset also appears to be attached to it. There is a chair pushed underneath it. BACK TO THIRD PERSON FROHIKE Hey, check this out. Yves and Kelly look up and shine their lights over towards Frohike. They see the open space and hurry over. Kelly is clearly surprised. KELLY What the hell is this? FROHIKE You didn't know about this? KELLY No. (shines her light inside on the device) What is that? Yves walks into the small room, shining her light on the device. Frohike and Kelly follow her. YVES I've seen this before. It's a device that transmits subliminal audio and visual messages to the person hooked up to it. KELLY Subliminal . . . (beat) This might be how Greenwater programmed Mr. Nassar to kill Lucy. FROHIKE We need to get evidence to prove that. The three start looking around the small room. We see Kelly shining her flashlight on one of the shelves, looking at plastic cases with labels on them. She stops her flashlight on one case. - KELLY'S POV The plastic case is labeled 'Marcus Nassar'. She pulls the plastic case out. BACK TO THIRD PERSON KELLY Look what I found. Yves and Frohike hurry over and look at the plastic case. There is a small CD inside the plastic case, also labeled 'Marcus Nassar.' YVES That could be the evidence. - PULL IN We focus on a small red dot in a corner of the room. We close in and see that it's a small security camera mounted on the wall. - CUT TO We are now watching the events in the small room through the security camera. The time on the right bottom of the screen reads 10:28 PM. 'Recording' is being flashed on the left bottom side of the screen. We see Yves, Frohike, and Kelly talking as they're glancing at the plastic case Kelly is holding. KELLY How do we find out? FROHIKE Let's get it back to the hotel to check it out. We see Yves, Frohike, and Kelly walk out of the small room. FADE OUT END ACT II OPEN ACT III FADE IN EXT. COURTYARD PAVILION - MORNING It's the next morning, and we're at the Courtyard Pavilion building once again. It's sunny and the sky is clear and blue. We see people and cars bustling around. LEGEND INDICATES 7:56 AM - CUT TO INT. GREENWATER'S WATING ROOM--DAY We're staring at the glass door as it opens and Kelly rushes in. She is dressed in a green pants suit and black shoes, and carrying her handbag. Her hair is loose. She closes the door behind her and hurries over to the receptionist area. INT. RECEPTIONIST AREA We see the door open and Kelly rushes in, closing the door behind her. KELLY Sorry I'm late. Traffic was a nightmare. Kelly stops suddenly, staring at the receptionist area. - KELLY'S POV The receptionist area is empty. BACK TO THIRD PERSON Kelly looks around oddly. KELLY Hello? We watch her walk down the hallway toward Greenwater's office. KELLY (O.S.) Dr. Greenwater? Dora? Kelly comes back and stands next to the receptionist area. She drums her fingers lightly on the counter as she looks around, puzzled. Suddenly, she stops drumming as her expression changes. She looks uneasy as she looks around. Kelly clutches her bag tightly as she hurries out into the waiting room, but she stops as the glass door opens. Greenwater steps in with Chester Rodgers behind her. Greenwater is in a navy blue skirt suit, her long hair pulled into a bun once again. Rodgers looks exactly like he did in his picture. He's well-built, taller than Greenwater, and wearing a brown suit with matching tie and loafers. He's pointing a gun right at Kelly. GREENWATER Good morning, Kelly. (beat) Why don't we all go for a drive? Rodgers motions to Kelly with the gun. Kelly swallows nervously as she walks over. Rodgers shoves her out the door, walking close behind her. Greenwater follows, closing the door behind her. - CUT TO INT. RED ROOF INN - ROOM 126 - CLOSE IN We're staring at a laptop computer screen that's scrolling through a bunch of numbers. - PULL BACK The laptop is sitting on the couch in the room. Byers is also sitting on the couch, watching the computer screen intently. He is dressed for the day in one of his suits. The computer beeps and Byers leans over. He gives a satisfied smiled. BYERS Guys, it's done. We see Langly, Frohike, and Jimmy crowded around another laptop at the table. All of them are dressed for the day. They all look up when Byers speaks. FROHIKE: And? BYERS The chemical compound in the Nalavil has to components in it. One component similar to other MAO inhibitors. LANGLY And the other component? BYERS Has a chemical compound similar to LSD, which would explain the side effects the patients were experiencing before they died. (beat) How's it going over there? LANGLY There's an executable file on it. We're about ready to run it. Byers gets up and walks over to the others. Langly moves his mouse cursor over to the file and clicks on it. We see the screen fade to black. Suddenly, 'The Star Spangled Banner' starts playing through the laptop's speakers. The screen shows various pictures of the Statue of Liberty, Mount Rushmore, the American Flag, and other American symbols, almost like a slideshow. The Gunmen look on oddly as they watch. LANGLY What the hell? I thought this was supposed to be some kind of subliminal mind control program. FROHIKE Perhaps we're looking at this the wrong way. JIMMY How so? FROHIKE If this is supposed to contain subliminal messages - BYERS Then we'd need to slow it down in order to find them. Byers and Frohike look at Langly, who begins tying rapidly on the laptop. - CUT TO EXT. CAR - MORNING We see a black town car driving down the city street among traffic. INT. CAR--DAY We see Greenwater is driving the car. In the backseat, Kelly sits with Rodgers. Rodgers is still pointing the gun at her. KELLY What the hell is going on? Why are you doing this? GREENWATER Because you found out my dirty little secret. KELLY (confused) How did you - GREENWATER Did you really think I was going to have something like that in my office without some measure of security? (beat) When you short friend found the trigger on the bookshelp, it tripped the security camera in the corner to begin recording. That camera was connected to a remote access at my home. I came down and viewed the video feed, then called up Rodgers here. (beat) I assume Mr. Tim Johnson is also part of your little group, although I'm pretty sure that isn't his real name. KELLY Why did you have to kill Lucy? GREENWATER Because like you she snooped around too much. Found out things she wasn't supposed to. KELLY But why use Mr. Nassar? What did he do? And why did you even use that drug on your patients, knowing what it would do to them? GREENWATER Mark provided me with an exceptional alibi, Kelly. I mean, who would question a man with PTSD that comes in and shoots at people? The police didn't. (beat) As for the Nalavil . . . well, what can I say? I couldn't resist what Chester was willing to pay me if I kept quiet. KELLY But my friends have the evidence against you, Dr. Greenwater. You're finished. GREENWATER That I doubt. Rodgers grabs her by the collar of her blouse and holds the gun closer. RODGERS Where are your friends? KELLY I don't know. Rodgers grabs Kelly's hair and pulls her closer. Kelly yelps. RODGERS (growling) I'm sure they told you where you could contact them. Now where are they? Kelly sighs and whimpers slightly. KELLY Red Roof Inn. Room 126. Rodgers looks at Greenwater, who smiles smugly. - CUT TO INT. RED ROOF INN - ROOM 126 The four Gunmen are still around the computer. Langly is still typing at the laptop. A few bleeps sound from the laptop. LANGLY Okay, that should do it. We see the screen start showing the different pictures once again, but this time it's at a slower pace. The men watch the screen intently. Suddenly, Byers frowns slightly. BYERS Pause it. Langly hits a few keys on the keyboard, and the slide show stops. The screen shows a picture of the Statue of Liberty. FROHIKE (looks at Byers oddly) What is it, Byers? BYERS Look at the picutre. Closely. Everyone peers at the screen, and we finally see what Byers was agitated about. Even though it's faint, we can make out another picture superimposed over the Statue of Liberty. LANGLY What the hell is that? BYERS Can you grab it? Langly types a few more commands and we see the image getting captured and transferred to a blank window. When it's brought up, we can see it's a picture of a woman. It's very faint, but we can definitely see it's a picture of Lucy Arnold. JIMMY Who's that? FROHIKE The dead woman, most likely. Langly - LANGLY Yeah, yeah. I know, I know. Find out who she is. He sighs heavily as he starts going through different databases. A few moments later, he pulls up a DMV record. We see a picture of Lucy Arnold, along with some information, but we're not close enough to read it. LANGLY That's Lucy Arnold alright. FROHIKE Yves was right. Greenwater used Nassar to kill that woman. BYERS There has to be more to this. Just showing a picture wouldn't cause someone to want to kill someone. (beat) Frohike, you said Yves said the device was both visual and audio, correct? FROHIKE Yeah. BYERS (turns to Langly) Langly, capture the audio portion of the program and slow it down as fast as you can. LANGLY (sighs) Okay. Once again, Langly's fingers are flying across the keyboard. We see a sound scope used in voice synthesis programs - the line that moves when it's triggered by the voice. Right now, it's just a straight line. LANGLY Now what? BYERS Synchronize it with the pictures, going the same speed. Langly nods and types. The slide show starts at the same time the music plays, both going extremely slow. Everyone listens intently for a few moments, then Byers nods at one part. BYERS Crop that last three seconds. Put it in a new file. Langly follows Byers' instructions. BYERS Play it. The cropped sound is played. This time, we hear 'kill her' in a female voice intermingled with the 'Star Spangled Banner'. The Gunmen look at each other. FROHIKE Did I just hear what I think I just heard? BYERS It was timed to play exactly when Lucy Arnold's picture was present. I'm betting it's that way throughout that entire program. LANGLY And if Nassar were to listen to it for a long period of time - FROHIKE Then he would be 'programmed'. Byers gives a satisfied smile and he crosses his arms. BYERS Exactly. There is a knock on the front door. JIMMY I got it. We watch Jimmy walk over to the door and open it. Kelly is suddenly shoved in, causing Jimmy to step back quickly. Byers, Langly, and Frohike look up and see Rodgers and Greenwater step into the room behind Kelly. Rodgers is holding Kelly by her shoulder, his gun against her neck. GREENWATER Well, isn't this nice and cozy. (looks at Rodgers) Chester, it's time to tie up those loose ends, don't you think? RODGERS You're quite right, Patricia. Rodgers suddenly aims his gun at Greenwater and fires. The gun turns out to be an injector gun that's used to render people unconscious. Greenwater yelps and touches her neck, but before she can say anything, she topples to the ground unconscious. Everyone looks at Rodgers curiously as he lowers his gun. Seeing their confused expressions, Rodgers pulls a small voice-altering mouthpiece out of his mouth as he glances down at the unconscious Greenwater. RODGERS (Yves' voice) Nighty-night, bitch. Rodgers (Yves) glances up at the Gunmen and smirks. - CUT TO It's about thirty minutes later. There are a few police cars in the parking lot, their lights flashing. Kelly is talking with one of police officers, who looks to be getting her statement. Greenwater is handcuffed, being escorted to one of the police cars. The Gunmen and Yves are standing nearby as they watch her being loaded into the police car. Yves is now out of her disguise and back into her regular clothes. LANGLY (to Yves) I don't get it. How did you know? YVES When we were in Greenwater's little hiding place last night I saw a security camera mounted on one of the walls. FROHIKE Why the hell didn't you say anything? YVES Because I wasn't sure exactly how we were being monitored. So, when we left, I nonchalantly placed a bug inside the office. After dropping you off here, I downloaded the data that was recorded. It turned out that when Frohike opened the secret room, it triggered an alarm system at Greenwater's home. She came down and reviewed the tape, then called Rodgers. They discussed using Kelly as bait to get to the rest of us, then they were going to kill us all. BYERS So, you disguised yourself as Rodgers. YVES Exactly. JIMMY (confused) So, where's the real Rodgers? YVES (looks at her watch) He should be getting picked up by the police by now, I imagine, but he probably won't be fully functional until later today; I gave him one hell of a knockout drug. BYERS Thanks, Yves. YVES Don't mention it. Now, if you'll excuse me. Yves walks off, leaving the Gunmen to themselves. Kelly finishes her statement and walks over to the Gunmen. She looks content. BYERS Everything okay? KELLY Yeah. The officer said that, given all the information I gave them, they're going to reopen the investigations into Lucy's death as well as the others. Most likely Greenwater and Rodgers will be charged with multiple counts of murder. FROHIKE That's good. KELLY (smiles) Yeah, and it's all because of you guys. I can't thank you enough for believing me and helping me the way you have. BYERS (smiles) It was our pleasure, Miss Grace. There is a moment of silence. KELLY Well, they need to take me downtown to ask me some more questions. JIMMY Good luck. KELLY Thanks. (smirks at Langly) Oh, and don't freak out about your hair too much. Langly forces a smile as Kelly turns to leave. The Gunmen watch her walk over to a police car. The Gunmen turn and start walking back to their room. LANGLY You do something like that again, Frohike, and I'll kick your butt. FROHIKE Oh, yeah, that's really scaring me, hippie boy. BYERS Come on, guys. We have a story to write. - CUT TO EXT. LONE GUNMEN HQ - MORNING It's a couple days later. The sun is shining, and the sky is a clear blue. It's morning, but we can't tell what time it is. LEGEND INDICATES: TWO DAYS LATER We see a delivery truck drive down the narrow street and stop in front of the Gunmen's warehouse. A guy standing on the back drops three stacks of bundled newspapers onto the ground near some steps. As the truck drives away, we pan down to one of the stacks to read it. - CLOSE IN It's the latest issue of The Lone Gunman. The headline splashed across the top in bold, black letters reads, 'Psych Gets Psyched Out.' Below is another headline in smaller letters, "Pharmaceutical Director Also Implicated.' Below the headlines are pictures of Greenwater and Rodgers. FADE OUT THE END