kristen999 (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
kristen999) wrote2005-10-18 07:41 pm
kristen999) wrote2005-10-18 07:41 pm
"Stalker" Screen Play Changes Last Part
Stalker" Screen Play Changes Last Part
All right here are the rest of the different scenes to “Stalker”, again some pretty major changes to certain scenes and an ending that is sweet, sadder, and unexpected…but with more closure.
Some interesting angles, I must say.
Here is it for all of you CSIFiles ppl!
[INT. CSI - AUDIO/VIDEO LAB - NIGHT]
(CATHERINE, GRISSOM and ARCHIE JOHNSON continue to watch the video tapes. The
current one in the machine is the night vision view of JANE GALLOWAY sleeping.)
NIGEL CRANE: (on video) I see you, Jane. You feel me seeing you? Why ignore me then? Am I that repulsive to you??
You’ll never get me. Not the way he does. We all get what we desrve in the ned. But I got a
friend.
CATHERINE:
This guy has a friend?
(SARA and WARRICK enter the lab.)
GRISSOM: How's Nick doing?
SARA: Well, groggy. How's the epic?
CATHERINE: Epic.
WARRICK: Gotten any clues as to where this guy might be?
GRISSOM: Not really, not yet.
NIGEL CRANE:
I cut up an animal once. A small kitten…with a butter knife. Cut its tail…
CATHERINE: Archie, freeze it.
(The video tape pauses. CATHERINE points to the screen.)
CATHERINE: Do you see that behind him? To the left hand of the screen? Can
you focus the pixels?
(ARCHIE JOHNSON starts typing. He click and drags the area CATHERINE points to
and enhances the image.)
ARCHIE JOHNSON: Okay, we're now at 26 times magnification. Rendering at 1086
lines.
(The image enlarges and clears. It's the article of NICK.)
CATHERINE: That's the "Crime Stopper" article.
GRISSOM: Isn't our newsletter for in-house only?
(suddenly it hits Catherine and Grissom at the same moment.)
GRISSOM:
We’ve been looking about this the wrong way. This isn’t about Jane Galloway being stalked
(punch line)
This is about Nick…..
(A LULL of silence comes over the head of our heroes. They didn’t see that one coming. Their minds are spinning.)
CATHERINE:
He’s been watching Nick. He’s been in his house.
WARRICK: He reads his e-mail.
SARA: Found that photo of Nick and his prom date. Used Jane Galloway to
emulate the photo to get Nick’s attention?
GRISSOM:
(in deep thought)
So he gave up on stalking Jane to start stalking Nick. Why?
CATHERINE:
Well, he left the equipment out in the open in Jane’s attic. He must have in some diabolical way, figured Nick would find him.
SARA: Nick has satellite cable, right?
WARRICK: Lunar Cable- a hundred and fifty channels.
GRISSOM: Wait a minute we've been doing this the wrong way. We need to see the
last tape.
(GRISSOM turns around to the stack of tapes on the table behind him. He digs
out the last tape and hands it to ARCHIE JOHNSON.)
GRISSOM: Archie, play this.
(ARCHIE hits play. Video camera close up of NIGEL CRANE instantly appears on
screen.)
NIGEL CRANE: (on tape) It's like he, he's ... he's the kind of guy I always
wanted to, um ... to be. And that's why it's so great, because ... we're
friends now. I feel like I can count on him, you know? And you know what? I
think if it came right down to it he would lay his life down for me. Ask him.
A-a-ask Nick. Nick, would you let me stop your heart?
WE PUSH FORWARD HORRIFED.
CUT TO:
INT. NICK”S HOUSE-NIGHT
The house is quiet. Las Vegas twinkles from the window. Nick takes a pain pill. Takes off his shoes and shirt.
He grabs a water from the inside and washes it down the pill. He relaxes inot his favorite chair and closes his eyes.
KNOCK KNOCK Nick jumps up, checks the clock. 12:55a.m. Who could it be at this hour? Nik talks through the door.
NICK:
Who is it?
MORRIS PEARSON: (o.s.) My name is Pearson. Morris Pearson. We haven't met.
I worked with Mr. Grissom on the Jane Galloway case.
NICK:
What do you want?
MORRIS PEARSON:
I've had more visions.
(Nick, although groogy, forces himself to focus, his tough instinct kicking in.)
NICK:
Look, man, I don’t know you. I can’t let you in here.
MR PEARSON:
Please, sir, you must.
NICK:
Can’t do it, man.
**scene goes on like usual except here is more description on how out of it Nick is because of the pain and the meds and he has a hard time concentrating.*
Scene is the same with the “confrontation” except for this last section:**
NICK:
I don’t watch people the way you watched Jane Galloway.
NIGEL CRANE:
(smiles at her memory)
“Jane.” She was cool, but ti would never have worked out between us.
(beat)
No one has ever given you a gift like that before, huh?
NICK:
A gift?
NIGEL CRANE:
Yeah. Prom night. Your date. Melissa.Bent over the toilet puking her guts out. Is that ringing any
bells, huh?
(smiles)
My gift to you.I mean, Jane's hair was the wrong color but, you know
obviously, I fixed that. Because I know how much you love redheads. You know,
you ... you mentioned her name in your sleep.
NICK:
You’ve watched me sleep? What, you get off on that?
(Suddenly Nick steps to him. His tolerance for bullshit evaeprating by the second.
Nigel throws his own curve ball. Looks down to Perason’s body.)
NIGEL CRANE:
You want to open him up?
(Nick takes a beat. What would Grissom do?)
**scene goes on**Got tired of typing...
NIGEL CRANE:
How do I want this to end? I want you to remember my name.
(Nigel, for an eyelash, pulls his eyes away from Nick’s. Puts the gun to his chin, prepares to fire. Nick reacts, swipes the Glock away.
BLAM! The bullet hits the ceiling.
Just then, the front door blasts off its hinge. THREE COPS bust in with Brass and Grissom behind them.
The cops dive onot Nigel. Nigel’s face is pressed to the carpet as he’s cuffed. He locks yesy with Nick, almost pleased. His friend just saved his life.)
NICK:
(to Grissom)
I should have let him do it.
Grissom puts a hand on his shoulder as the cops rush Nigel out.
GRISSOM:
Its over.
(Nick pulls away from Grissom)
NICK:
No its not.
(suddenly Nick puts his hands to his head, pacing back and fourth out of breath, his face: “what the hell just happened?”
OFF Him—
INT. POLICE DEPT- INTERROGATION ROOM ROOM B NIGHT
(Nick’s face. Watching a madman talk to himself, like a child. Creepy. Only think glass dividing them.
NIGEL CRANE: (delusional)
I am one, and who am I? I am one, and who am I? I am
one, and who am I? I am one, and who am I? I am one, and who am I? I am one,
and who am I? I am one, and who am I?
(Nigel pulls eyes at the mirror. He knows Nick is behind there. GRISSOM puts a hand on Nick’s shoulder.
NICK:
Why me?
GRISSOM: I don't think it was about you, Nick. Or Jane Galloway, for that
matter. I think it was more about Maslow's Hierarchy of Needs. His premise is
that social beings strive to belong. In Nigel's mind, Jane Galloway was someone
he could control which was okay for a while but you ... you were someone he
could actually become. See, Maslow's Fifth Tier of the Hierarchy is Self-
Actualization. The problem for Nigel is that you would have to die in order for that to happen. Or else he would.
(Nick exhales. Grissom nods to Nigel. Behind the glass Brass walks in. Stands Nigel up. Preparing to take him to jail. STAY with out Heroes.)
GRISSOM:
…It’s over, Nick.
SARA: Twenty-five years to life, Nick. It's over.
NICK: It's not over for me. It's over for Jane Galloway. She’s dead.
(A calm silence. He’s right. Grissom and Sara nod and head out. Catherine pets Nick on the back, on her way out—
CATHERINE:
We’ll be in the hall.
(ALL of our heroes have left, except for Nick and Warrick. Warrick has something to say, pent-up emotion.)
WARRICK:
I should have learned my lesson with Holly.
NICK:
Not the same thing.
WARRICK:
For me it is. I’ll never not have your back again.
(guilt ridden emotional)
I’m sorry…
(enough said. Nick nods, understanding as Warick exits. Nick settles in silence. Off his 100-yard stare—
CUT TO:
INT> NICK”S HOUSE_ NIGHT
(Nick enter, locks the door, puts the chain on. Sits in front of TV, which is off. Exhuasted. A moment of suilce. Then the PHONE RINGS! Nick looks. RING! He takes his time. Eventaully picks up.
NICK:
Hello?
INT> CSI _ LOCKER ROOM
(Sara on her cell phone, packs up her stuff up for end of shift.)
SARA:
Hey, it’s Sara.
NICK:
Hey.
SARA:
Just checking to see if you’re okay.
NICK:
Yea, I’m fine.
SARA:
I was thinking about renting “Blow”. Wanna order a pizza or something?
(Nick thinks for a second.)
NICK:
No. I’m kind of tired, Sara. I’m off for a couple. Maybe tomorrow, huh?
SARA:
Yeah. Okay. Sure.
(AN uncomfortable silence. Nick stifles tears, but doesn’t break.)
SARA:
I know you said you didn’t have anybody here, but for what its worth…you got me.
NICK:
I know.
(Another uncomfortable silence)
SARA:
Alright. Well….Good night.
(Nick knows it’s going to be anything but that. Finds the courage.)
NICK:
‘Night….
(Sara hangs up, so does he. Picks up the TV remote. Turns the TV on. Sits for a bet. Then turns it off. And suddenly it becomes apparent on Nick’s face: He’ll never be the same. HOLD ON..his expression:. faceless.
FADE OUT
**so, Grissom went to Nick’s to be there, even seems more human with him in the interrogation room. Nigel seems happy about Nick's actions...creppy.Warrick unloads on some emotional baggage, and Sara actually calls Nick. I’m not sure about him going home after a crime was at his house..but who knows..he was a witness. Overall changes…some I would have liked to have seen, others I’m not sure. Interesting to have seen more development to Nick’s character, but then it was cut away for good or bad.
Kristen
All right here are the rest of the different scenes to “Stalker”, again some pretty major changes to certain scenes and an ending that is sweet, sadder, and unexpected…but with more closure.
Some interesting angles, I must say.
Here is it for all of you CSIFiles ppl!
[INT. CSI - AUDIO/VIDEO LAB - NIGHT]
(CATHERINE, GRISSOM and ARCHIE JOHNSON continue to watch the video tapes. The
current one in the machine is the night vision view of JANE GALLOWAY sleeping.)
NIGEL CRANE: (on video) I see you, Jane. You feel me seeing you? Why ignore me then? Am I that repulsive to you??
You’ll never get me. Not the way he does. We all get what we desrve in the ned. But I got a
friend.
CATHERINE:
This guy has a friend?
(SARA and WARRICK enter the lab.)
GRISSOM: How's Nick doing?
SARA: Well, groggy. How's the epic?
CATHERINE: Epic.
WARRICK: Gotten any clues as to where this guy might be?
GRISSOM: Not really, not yet.
NIGEL CRANE:
I cut up an animal once. A small kitten…with a butter knife. Cut its tail…
CATHERINE: Archie, freeze it.
(The video tape pauses. CATHERINE points to the screen.)
CATHERINE: Do you see that behind him? To the left hand of the screen? Can
you focus the pixels?
(ARCHIE JOHNSON starts typing. He click and drags the area CATHERINE points to
and enhances the image.)
ARCHIE JOHNSON: Okay, we're now at 26 times magnification. Rendering at 1086
lines.
(The image enlarges and clears. It's the article of NICK.)
CATHERINE: That's the "Crime Stopper" article.
GRISSOM: Isn't our newsletter for in-house only?
(suddenly it hits Catherine and Grissom at the same moment.)
GRISSOM:
We’ve been looking about this the wrong way. This isn’t about Jane Galloway being stalked
(punch line)
This is about Nick…..
(A LULL of silence comes over the head of our heroes. They didn’t see that one coming. Their minds are spinning.)
CATHERINE:
He’s been watching Nick. He’s been in his house.
WARRICK: He reads his e-mail.
SARA: Found that photo of Nick and his prom date. Used Jane Galloway to
emulate the photo to get Nick’s attention?
GRISSOM:
(in deep thought)
So he gave up on stalking Jane to start stalking Nick. Why?
CATHERINE:
Well, he left the equipment out in the open in Jane’s attic. He must have in some diabolical way, figured Nick would find him.
SARA: Nick has satellite cable, right?
WARRICK: Lunar Cable- a hundred and fifty channels.
GRISSOM: Wait a minute we've been doing this the wrong way. We need to see the
last tape.
(GRISSOM turns around to the stack of tapes on the table behind him. He digs
out the last tape and hands it to ARCHIE JOHNSON.)
GRISSOM: Archie, play this.
(ARCHIE hits play. Video camera close up of NIGEL CRANE instantly appears on
screen.)
NIGEL CRANE: (on tape) It's like he, he's ... he's the kind of guy I always
wanted to, um ... to be. And that's why it's so great, because ... we're
friends now. I feel like I can count on him, you know? And you know what? I
think if it came right down to it he would lay his life down for me. Ask him.
A-a-ask Nick. Nick, would you let me stop your heart?
WE PUSH FORWARD HORRIFED.
CUT TO:
INT. NICK”S HOUSE-NIGHT
The house is quiet. Las Vegas twinkles from the window. Nick takes a pain pill. Takes off his shoes and shirt.
He grabs a water from the inside and washes it down the pill. He relaxes inot his favorite chair and closes his eyes.
KNOCK KNOCK Nick jumps up, checks the clock. 12:55a.m. Who could it be at this hour? Nik talks through the door.
NICK:
Who is it?
MORRIS PEARSON: (o.s.) My name is Pearson. Morris Pearson. We haven't met.
I worked with Mr. Grissom on the Jane Galloway case.
NICK:
What do you want?
MORRIS PEARSON:
I've had more visions.
(Nick, although groogy, forces himself to focus, his tough instinct kicking in.)
NICK:
Look, man, I don’t know you. I can’t let you in here.
MR PEARSON:
Please, sir, you must.
NICK:
Can’t do it, man.
**scene goes on like usual except here is more description on how out of it Nick is because of the pain and the meds and he has a hard time concentrating.*
Scene is the same with the “confrontation” except for this last section:**
NICK:
I don’t watch people the way you watched Jane Galloway.
NIGEL CRANE:
(smiles at her memory)
“Jane.” She was cool, but ti would never have worked out between us.
(beat)
No one has ever given you a gift like that before, huh?
NICK:
A gift?
NIGEL CRANE:
Yeah. Prom night. Your date. Melissa.Bent over the toilet puking her guts out. Is that ringing any
bells, huh?
(smiles)
My gift to you.I mean, Jane's hair was the wrong color but, you know
obviously, I fixed that. Because I know how much you love redheads. You know,
you ... you mentioned her name in your sleep.
NICK:
You’ve watched me sleep? What, you get off on that?
(Suddenly Nick steps to him. His tolerance for bullshit evaeprating by the second.
Nigel throws his own curve ball. Looks down to Perason’s body.)
NIGEL CRANE:
You want to open him up?
(Nick takes a beat. What would Grissom do?)
**scene goes on**Got tired of typing...
NIGEL CRANE:
How do I want this to end? I want you to remember my name.
(Nigel, for an eyelash, pulls his eyes away from Nick’s. Puts the gun to his chin, prepares to fire. Nick reacts, swipes the Glock away.
BLAM! The bullet hits the ceiling.
Just then, the front door blasts off its hinge. THREE COPS bust in with Brass and Grissom behind them.
The cops dive onot Nigel. Nigel’s face is pressed to the carpet as he’s cuffed. He locks yesy with Nick, almost pleased. His friend just saved his life.)
NICK:
(to Grissom)
I should have let him do it.
Grissom puts a hand on his shoulder as the cops rush Nigel out.
GRISSOM:
Its over.
(Nick pulls away from Grissom)
NICK:
No its not.
(suddenly Nick puts his hands to his head, pacing back and fourth out of breath, his face: “what the hell just happened?”
OFF Him—
INT. POLICE DEPT- INTERROGATION ROOM ROOM B NIGHT
(Nick’s face. Watching a madman talk to himself, like a child. Creepy. Only think glass dividing them.
NIGEL CRANE: (delusional)
I am one, and who am I? I am one, and who am I? I am
one, and who am I? I am one, and who am I? I am one, and who am I? I am one,
and who am I? I am one, and who am I?
(Nigel pulls eyes at the mirror. He knows Nick is behind there. GRISSOM puts a hand on Nick’s shoulder.
NICK:
Why me?
GRISSOM: I don't think it was about you, Nick. Or Jane Galloway, for that
matter. I think it was more about Maslow's Hierarchy of Needs. His premise is
that social beings strive to belong. In Nigel's mind, Jane Galloway was someone
he could control which was okay for a while but you ... you were someone he
could actually become. See, Maslow's Fifth Tier of the Hierarchy is Self-
Actualization. The problem for Nigel is that you would have to die in order for that to happen. Or else he would.
(Nick exhales. Grissom nods to Nigel. Behind the glass Brass walks in. Stands Nigel up. Preparing to take him to jail. STAY with out Heroes.)
GRISSOM:
…It’s over, Nick.
SARA: Twenty-five years to life, Nick. It's over.
NICK: It's not over for me. It's over for Jane Galloway. She’s dead.
(A calm silence. He’s right. Grissom and Sara nod and head out. Catherine pets Nick on the back, on her way out—
CATHERINE:
We’ll be in the hall.
(ALL of our heroes have left, except for Nick and Warrick. Warrick has something to say, pent-up emotion.)
WARRICK:
I should have learned my lesson with Holly.
NICK:
Not the same thing.
WARRICK:
For me it is. I’ll never not have your back again.
(guilt ridden emotional)
I’m sorry…
(enough said. Nick nods, understanding as Warick exits. Nick settles in silence. Off his 100-yard stare—
CUT TO:
INT> NICK”S HOUSE_ NIGHT
(Nick enter, locks the door, puts the chain on. Sits in front of TV, which is off. Exhuasted. A moment of suilce. Then the PHONE RINGS! Nick looks. RING! He takes his time. Eventaully picks up.
NICK:
Hello?
INT> CSI _ LOCKER ROOM
(Sara on her cell phone, packs up her stuff up for end of shift.)
SARA:
Hey, it’s Sara.
NICK:
Hey.
SARA:
Just checking to see if you’re okay.
NICK:
Yea, I’m fine.
SARA:
I was thinking about renting “Blow”. Wanna order a pizza or something?
(Nick thinks for a second.)
NICK:
No. I’m kind of tired, Sara. I’m off for a couple. Maybe tomorrow, huh?
SARA:
Yeah. Okay. Sure.
(AN uncomfortable silence. Nick stifles tears, but doesn’t break.)
SARA:
I know you said you didn’t have anybody here, but for what its worth…you got me.
NICK:
I know.
(Another uncomfortable silence)
SARA:
Alright. Well….Good night.
(Nick knows it’s going to be anything but that. Finds the courage.)
NICK:
‘Night….
(Sara hangs up, so does he. Picks up the TV remote. Turns the TV on. Sits for a bet. Then turns it off. And suddenly it becomes apparent on Nick’s face: He’ll never be the same. HOLD ON..his expression:. faceless.
FADE OUT
**so, Grissom went to Nick’s to be there, even seems more human with him in the interrogation room. Nigel seems happy about Nick's actions...creppy.Warrick unloads on some emotional baggage, and Sara actually calls Nick. I’m not sure about him going home after a crime was at his house..but who knows..he was a witness. Overall changes…some I would have liked to have seen, others I’m not sure. Interesting to have seen more development to Nick’s character, but then it was cut away for good or bad.
Kristen