15 Minutes Page #6

STEPHEN GELLER:

This had nothing to do with shoes that

didn't fit or my relationship with my

father who, as you know, made a fortune

selling penny loafers in the fifties.

These people died because of the

criminal actions of my doctor.

ROBERT HAWKINS:

Your doctor?

STEPHEN GELLER:

Yes. My psychiatrist didn't insist that

I stay on my medication.

ROBERT HAWKINS:

...so you feel absolutely no

responsibility for killing these people?

STEPHEN GELLER:

It was my finger that pulled the

trigger, but I'm not morally

responsible. My psychiatrist knew what

I was capable of. How could I know.

I'm not a doctor.

ROBERT HAWKINS:

You seem very savvy for a man who's been

found mentally incompetent to stand

trial.

STEPHEN GELLER:

Look, I'm a victim here, too. I was a

year away from getting my masters in

Art, now I'll never graduate. My life

has been permanently disrupted.

ROBERT HAWKINS:

Permanently disrupted? Aren't you

selling paintings now for quite a lot of

money? Hasn't this 'incident' as you

call it, jump started your career as an

artist?

STEPHEN GELLER:

Look, I'm in here. You call this a

career move?

ROBERT HAWKINS:

And isn't there a movie in the works

about you?

STEPHEN GELLER:

We're in negotiations, that's correct.

ROBERT HAWKINS:

But doesn't the Son of Sam Law prevent

criminals from profiting from their

crimes?

STEPHEN GELLER:

That doesn't apply to me because I'm not

a criminal. I'm not a criminal! I

wasn't convicted.

Emil leans forward - listening. Fascinated.

EMIL:

I love America. No one is responsible

for what they do.

There's a KNOCK on the door. Our VIDEOCAMERA POV swings over

to it. Then WHIPS back to Emil. Emil looks at us.

EMIL (CONT'D)

Get in the bathroom!

OLEG (O.S.)

Whatever we do - we f*** her, right?

EMIL:

Oleg, get in bathroom, stay there and

shut up!

Emil turns off the TV. Our POV backs into the bathroom,

closing the door but leaving it open a crack. Emil looks

down at his shoe. The POV PANS down to the kitchen knife

sticking out of Emil's BOOT. Emil's hands pull his pants

cuff over it. POV PANS up to Emil as he moves to the door

and opens it. It's not Daphne and she's not world class.

HONEY:

Hi, I'm Honey.

EMIL:

Where's Czech girl?

HONEY:

Baby, I'm anybody you want me to be.

I'm a little schoolgirl, I'm mommy, I'm

a Czech girl.

She enters. Closes the door behind her.

HONEY (CONT'D)

Now I like to get business out of the

way before we get down to pleasure. Why

don'tchya put my money on the dresser.

EMIL:

I ordered a Czech girl. Daphne, you

know her?

Oleg ZOOMS in for a CLOSE UP of Honey. During the rest of

the scene Oleg films her. Honey begins to undress.

HONEY:

It's an outcall service run out of an

apartment. I don't meet the other

girls. Aren't you gonna get undressed?

EMIL:

Where is escort service?

HONEY:

That's confidential. Could you put the

money on the dresser?

EMIL:

I like to talk to the person who runs

the service. Can you give me address?

HONEY:

Look. Do we have a problem here?

There's no reason to have a problem.

I'm gonna make you feel real good. You

wanna Czech girl?

After I'm done with you, you won't miss

her. Now why don't you pay me?

She starts to unfasten Emil's belt.

EMIL:

(stopping her)

Listen to me. I don't want sex. Just

give me the address and then you go.

HONEY:

(suddenly hard as nails)

Look, man, I don't give a sh*t if you

want sex or not, but you're payin' for

my time.

Emil pulls the knife out of his boot and SHOVES her against

the door, PUSHING the blade against her throat - suddenly

furious like he was before killing Milos and Tamina.

EMIL:

Give me the address!!

HONEY:

Alright, alright - don't hurt me!

Please, it's in my book, in my purse!

Emil backs off as she reaches for her purse, and comes out

with a can of mace, SPRAYING Emil's face!

Emil stumbles backwards - Oleg holding him in the frame. He

WHIP PANS back to Honey as she grabs her clothes, unlocking

the door but Emil's HAND SLAMS it shut! Emil turns blindly,

rubbing his burning eyes - guarding the door. Honey darts

toward the bathroom - she pushes open the door and runs into

Oleg who is VIDEOTAPING HER. Horrified, she turns around as

Emil SMASHES her in the face so hard she topples backwards,

tripping into the bathtub, pulling the shower curtain down on

her! Like a panther out for the kill, Emil POUNCES. Oleg

films as Emil lifts his hand, gripping...

THE KITCHEN KNIFE

As Emil's hand comes FLYING DOWN - then RISES UP, BLOODIED.

Her screams are muffled by the shower curtain wrapped around

her face. Oleg films the scene as the knife plunges DOWN

INTO:

INT. FIRE STATION 91 - ARSON SQUAD ROOM - NIGHT

DAPHNE, a sketch of her face.

JORDY (O.S.)

Her lips are fuller than that. You can

see 'em a mile away.

WIDER:

Food containers are scattered all over the place. The female

COMPOSITE ARTIST looks at Jordy. Stacks of failed sketches

sit beside her.

COMPOSITE ARTIST

What about her cheek bones?

JORDY:

Her cheek bones are prominent and her

eyes were huge. Big, blue eyes and when

I saw her, she looked scared. Like she

was looking to get away. But she was

absolutely beautiful.

The composite artist looks at Jordy.

JORDY (CONT'D)

I gotta good look at her.

Korfin has his chair turned around from his desk and is

watching the sketch evolve as he speaks on the phone to the

landlord of the 7th Street brownstone. Garcia is also on the

phone. The other investigators are gone. Working late into

the night. Everybody's exhausted. It's almost dawn.

KORFIN:

-- From Czechoslovakia? And how long

have they been livin' in your building?

(writes 4 YEARS on his pad)

Alright, I'll be in touch when we know

somethin'.

(to Jordy)

Milos and Tamina Karlova. They were

quiet and kept to themselves. Landlord

don't know who your girl is.

JORDY:

How long they been livin' here?

KORFIN:

You hear that question, Garcia?

GARCIA:

Yeah, I got Immigration on the phone -

they've been here illegally.

KORFIN:

Well, they're definitely permanent

residents now.

GARCIA:

I got the owner of the plumbing company

Milos worked for.

KORFIN:

Why don't we get some sleep and we'll go

see him in the morning.

JORDY:

You go home. I'm takin' your car and

goin' back to the crime scene.

KORFIN:

Aren't you tired?

JORDY:

If I go home I won't be able to fall

asleep anyway.

Jordy takes the sketch of Daphne which isn't a bad likeness

and heads for the door. Korfin falls in behind him. As they

pass Garcia he hands Jordy the address.

KORFIN:

(of the picture)

She keepin' you up? Like to meet her,

huh? She'd make you forget your ex

wife. Cure your insomnia.

INT. MILOS' APARTMENT - DAWN

CAMERA DESCENDS FROM THE SKY picking up Jordy as he enters

what is left of Milos and Tamina's apartment. The roof has

been burned off. He moves into the next room, trying to see

through the darkness - looking through the muck and char.

EDDIE:

Okay to smoke?

Jordy turns, surprised. Eddie sits on a singed chair. He

pours from a half-pint bottle of vodka into his 'won ton

soup' container, smoking a cigar. On the arm of the armchair

is a brown legal folder and stacks of photographs of the

crime scene and the burned bodies.

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