Touching Evil (1997–1999): Season 2, Episode 2 - Scalping: Part 2 - full transcript

Shit.

Shit!

Work!

What you're looking at,
as I'm sure you all know,

is a simplified model of
psychological cyclic behavior.

But to recap, in the
days following the kill,

the killer will experience
feelings of exhilaration.

He went through with it.

He had the courage to do it.

His fantasy has become reality.

His self esteem
is at its highest.



Emerson knows
who killed Foulds.

What we need is a key
to get him to open up.

If you'll bear with me.

Now, most of us tend
to see serial killers

as cold, calculating monsters
with no human feelings.

Quite the opposite
is generally true.

After the initial exhilaration,
guilt begins to set in.

They may try to deflect this
guilt by blaming others,

as is normally the
case with copycats.

However the guilt is expressed,
there's a gradual down surge

in the killer's self esteem.

They feel compelled to
regain that self esteem,

to recapture that brief
sense of exhilaration.

The only way in which
they can achieve this



is by killing again.

[music playing]

Of course, it's never
the same as the first time.

The guilt phase comes
more and more quickly.

The killer is forced
to find new ways

to experience the same feeling.

How does this help
us with Emerson?

It's my guess that
Emerson might well

be approaching a guilt phase.

How that might manifest
itself I've no idea,

but when we find out
we find his weakness.

We have the tapes of your
telephone conversations

with Laney.

He gave us them.

A cheap trick.

Laney wouldn't do that.

Why not?

Who told you about
Margaret Foulds?

Was it Laney?

If I'm to help you, I
want something in return.

What?

A lock of your hair.

We don't need you that much.

Come on.

Susan.

[music playing]

[doorbell ringing]

Hi.

We'd like a word,
Laney, back at the OSC.

Cleaning lady got the day off?

(ON TAPE) The
women have to die.

The balance must be restored.

(ON TAPE) I know
what you mean.

(ON TAPE) Oh, you do?

(ON TAPE) Some women
go too far, right?

(ON TAPE) Like
everything in nature,

there's a balance
between men and women.

(ON TAPE) Exactly.

And some women
upset that balance.

(ON TAPE) You
know, I really think

you're beginning to understand.

(ON TAPE) How do
you choose the women?

(ON TAPE) Gravity.

(ON TAPE) I don't understand.

(ON TAPE) Each of us exudes
their own gravitational force

that draws certain people to us.

(ON TAPE) Do you
hit them, the women?

(ON TAPE) Science has
no room for emotion.

(ON TAPE) You see
yourself as a scientist?

(ON TAPE) Science of killing--

natural, logical.

The complexity of structure,
the natural animal drive

tempered with our own
capacity for thought.

This is my dominion.

(ON TAPE) Can it be learned?

(ON TAPE) You wish
to become my student?

(ON TAPE) I want to learn.

And did you?

What?

Learn?

I got to know him pretty
well, if that's what you mean.

How well?

Do you know, I
really thought we might

have had something, you and me.

I thought we were sharing
something, while all the time

you were screwing me
to keep me occupied

while your buddy raids my flat.

Nice work, officer.

He didn't know?

He could be a
bloody murder suspect.

I didn't know that then.

How could be so bloody stupid?

Some of us have got a
life beyond this place!

I'm sorry.

You don't go
anywhere near Laney.

When did the
conversations start?

About a month ago.

And you didn't
think to inform us.

I had every intention of
letting you know the second I

found out anything useful.

How well did you
get to know him?

I've already answered that.

- Well enough to imitate him?
- What?

When did you tell
him about Margaret?

Margaret?

You discussed Margaret
Foulds with Emerson when?

Wait a minute, just
what the hell has Margaret

Foulds got to do with this?

Look, OK, I'm a naughty boy.

I should have given
you the tapes.

But this is research,
pure and simple.

Surely you can see that.

Emily Hawkins is dead.

Was that part of your research?

That was your balls up.

Don't pin it on me.

Dave, enough!

Some women go too far.

She deserved it.

I want to learn.

Research?

I was drawing him
out, getting his trust.

It's a recognized technique!

Nothing on those tapes would
have saved Emily Hawkins.

What about Margaret Foulds?

What is this with--

Foulds is dead?

He seemed surprised
by Foulds' death.

He was bluffing.

Everything on the tapes
supports his research claim.

So we can't make conspiracy.

His lawyer's already
kicking up a fuss.

The best we can do him for
is withholding evidence.

Even that's on dodgy ground.

There's nothing on the tapes
we didn't already know.

Emerson knew about Foulds.

Laney was in
contact with Emerson

and doesn't have an alibi for
the time Foulds was killed.

Nor does he have a
motive for killing her,

- as far as I can see.
- Well, he knew about her.

He wrote about her.

I thought that was his job.

Keeping him here
gets us nowhere--

heavy surveillance might.

Hello, Ronnie.
Come in.

(ON RADIO) Yeah,
this is Ronnie.

You want to try hanging
a flag out the window?

(ON RADIO) What's that/

I can see your bloody lens.

(ON RADIO) Sorry, sir.

I'll move back a bit.

All he needs is a good shagging.

You got any suggestions?

Has he moved yet?
Over.

(ON RADIO) He's still
leaning on the wall

outside the building.
Over.

He's been there three hours.

What the hell's he playing at?

Let's go see.

What do you want?

Back in there, I
thought everyone knew.

You've been waiting here
all this time to tell me that?

I just wanted you to know.

(RADIO) Calling DI Creegan.

DI Creegan, come in.

Creegan here.

(RADIO) He's just made a call.

Where to?

DI Taylor's flat.

There's no reply.

Thanks, Ronnie.

I refuse to feel
guilty about it.

Did I say anything?

And I do not want an
issue made out of it.

You keep it to yourself, OK?

No snarky bloody remarks
about me doing the same.

Never crossed my mind.

(RADIO) Laney's on the move.

Over.

CREEGAN: Don't lose him.

[music playing]

[doorbell rings]

Well, you're nothing
if not persistent.

My best feature.

Do I get to come in?

I don't think
that's a good idea.

Right.

So this is the brush
off, then, is it?

Where you tell me you don't
want me any more, is that it?

See, I don't actually
believe that.

I think you should go.

OK.

It's Creegan, isn't it?

Creegan?

That's OK.

I've got the picture.

(RADIO) He's now entering
the newspaper offices.

Over.

Cover all exits.

[music playing]

Hey.

Hey, hey, what are you doing?

You can't go in there!

[sirens]

What have we got?

Laney run a
story about Foulds.

It's over the top, great
MP, et cetera, et cetera.

He built her into
some kind of hero.

She wasn't the only one.

[music playing]

WOMAN: I'm locking up now.

Excuse me.

I'm locking up.

Finishing my coffee.

You've been nursing
that for an hour.

Paid for it.

Yeah, well, don't give
you the right to live here.

What did you say?

Sorry?

What did you just say?

Deborah Highsmith,
high flying lawyer.

She was tipped to
become a judge.

Found dead six months ago--

by all accounts,
took an overdose.

Margaret Foulds
we all know about.

Both women in
positions of power,

both with hidden secrets,
one suicide, one murder.

What you want?

Let's start with an apology.

- There's money in the till!
- What's your name?

What?

Your name.

It's Jan.

Jan.

Well, Jan, you've a bit of
a sharp tongue, haven't you?

(SHOUTING) Haven't you?
- Yeah.

Yeah.

Whatever, there's
money in the till.

Just take it,
please, just take it!

I don't want the money.

I want an apology!

I don't understand
what you want me to do.

An apology!

I'm sorry.

What?

I'm sorry.

You see, I don't
really think you are.

Laney wrote stories
about their success,

followed by stories
about their secrets.

And now they're both dead.

He is a reporter.

He built them up.

He gave them coverage, made
them into celebrities, ah,

ah, role models.

And then he destroyed them.

Highsmith committed suicide
after Laney ran the story.

He was doing exactly the
same to Margaret Foulds.

You're not really sorry.

None of you are
ever really sorry.

You get a little bit of power
and you think that makes

you something special.

There's a definite
pattern here,

too many connections to Laney.

The collage on Emerson's
wall, every headline

written by Laney.

Both victims women in power.

The conversations with Emerson.

Emerson's knowledge
of Foulds' death.

Emerson saw it.

He understood the
nature of things,

the natural balance between
the strong and the weak,

between man and woman.

We let Laney go
because we couldn't

see his motive for killing
Foulds, and now we have one.

Women in power.

You looked at the other case?

Definitely suicide.

So why all of a sudden
does he turn to murder?

[knocking]

Sorry to interrupt, sir.

What is it?

Laney's gone AWOL.

I don't ask for
much, just a little--

a little respect--
a little torment.

Do you know what that means?

Some show of conscience,
penance for what you've done,

for upsetting the balance.

Is that so much to ask?

[sirens]

Any number of
rows leading off.

Could be anywhere.

This is something
you should know.

Back at the shack, I--

I could have killed Emerson.

He was dragging
Emily into the shack,

and uh, I had my
gun on his back--

a clear shot.

And I-- I just--

I just couldn't
pull the trigger.

I hadn't killed a man before.

It-- it was just--

will you say something
for God's sake?

Get out.

What?

Get out.

You're kidding.

It happens, right?

I mean-- it must have
been the same for you.

I mean, the first time.

Get out of the car!

Damn it!

Damn him!

[music playing]

Still here?

That makes two of us.

You should get some sleep.

So should you.

[phone ringing] Creegan.

I'm leaving now.

Dudes.

Dudes, I'd like you
to meet, ah, Detective

Inspector David Creegan.

He's my good buddy from work.

Buddies look out for
each other, right?

Come on.

I can manage.

But first, I need a splash.

How many people
have you killed, Dave?

How many?

He doesn't want
to talk about it.

Nobody wants to talk about it.

Know how many I've killed?

Zilch.

Big fat zero.

I've had my chances.

Had no shortage
of opportunities.

It's just, never got round
to pulling that trigger.

I guess that means
I'll go to Heaven, eh?

What do you think, Dave?

Think I'll go to Heaven?

You want to go to Heaven?

Get another job.

Prefer the people
I'd meet in Heaven--

nice people.

No balls, no [inaudible].

Nice.

[music playing]

Oy!

Five minutes!

Easy now, come on!

She's my daughter.

Yeah, but you
can't come in here.

I want her back.

Look, I understand.

And I-- I'm sorry for you.

But you got to come with us.

I won't leave without her.

Come on.

I'm not leaving without her!

I want her back!

No!

I want her back!

I want her back!

I want her back!

[door opens]

I did what I
thought was right.

Bullshit!

You wanted to be the hero.

No.

Get your name in the paper.

Officer saves the day.

No.

It's all this was to
you, a bloody career move.

I had to make a decision.

You had to wait for help!

That's what you had to do.

That was all you had to do!

Wait!

How hard is that?

If I'd waited for help--

If you'd waited for
help she'd still be alive.

We don't know that.

As it she's lying
in that bloody fridge

and you put her there, Creegan!

Somebody's going
to pay for this.

Oh, I'm paying.

She's a bit of a mess.

Jugular vein severed
with a knife,

and the killer's
made a ham fisted

attempt to cut off her hair.

When he came to see you
last night, what did he want?

To know if we
were still an item.

I gave him the brushoff.

A few hours later,
he killed again.

What do you
think you're doing?

We have to find Laney.

No.

I won't let you do this.

What the hell
else have we got?

Definitely you.

Oh, save it for later.

Oh, I will savor it.

Where do we find Laney?

Something new has happened,
or else you wouldn't be here.

He killed another woman--

a cafe owner.

What was her history?

Ordinary.

Married woman, two kids,
mortgage, small business.

No skeletons in the cupboard?

None that we're aware of.

And where did he kill her?

In the cafe she owned.

An interesting aberration.

What is Laney's fixation?

Women in power.

Woman in power.

His drive and his weakness.

He desires them and he
despises that desire.

How can a man reconcile
his need for domination

with his need to remain a man?

By killing the
thing he desires.

You're a fast learner.

He didn't desire
the cafe owner.

Oh, he's chosen another
victim, but this victim

is difficult-- scares him.

But he needs to
kill where he must.

The cafe owner, a chance
encounter, satiate the need.

But simply marking time.

How does that
help us find him?

You already know
where to look for him.

A writer can't help
but to bare his soul.

The other victims
were attacked

first in the newspaper.

He's coming after you.

You need some protection--
bodyguards, maybe a safe house.

He's obsessed
with women in power.

I don't think it's me
who needs protecting.

[music playing]

Can't sleep?

How did you get in?

Our wonderful night
together, found your spare key.

What do you want?

I want to see you again.

You don't move.

Looks like you got me.

Does it make you
feel strong, Susan?

A gun in your hand, does
it give you the edge?

Through to the living room.

(RADIO) Calling
DI Creegan, come in.

Go ahead, Mark.

(RADIO) Yeah, we've got
another message from Laney.

You trace it?

(RADIO) Came from
the daily news.

Right, I'll meet you there.

Control, this is Creegan.

(RADIO) Control.

Yeah, DI Taylor's flat.

I want two cars, front
and back, and don't

let her know you're there.

You calling him?

Creegan?

You don't need him, Susan.

Just you and me.

What are you doing?

Giving you another chance
to make the right choice.

Stop it.

You and me, we belong
together, need each other.

I would do anything for you.

You just have to name it.

Get dressed.

Just think what we
could be together.

I thought about trusting you.

I really did.

A little voice said, no.

The voice was right.

Tomorrow's front page.

[sirens]

Susan?

Welcome home.

Why here?

The scene of
your great arrest,

and Creegan's big mistake.

I'm going to swing
some extra manpower.

I've got over 100
officers on disposal.

The question is where
do they start looking?

Could be anywhere.

The fact that he sent a
message means he's ego driven.

He has a need to let
us know, to involve us.

It isn't enough for him to kill.

He has a desire to feel clever,
to feel he's outsmarting us.

Which means we might
have missed something.

Emerson knows where she is.

Who's this?

Where did you get that?

Bedroom chest, bottom
drawer, under old tights.

Someone special?

His name's Jonathan.

An old boyfriend.

We're engaged.

Where is he now?

He died.

Shame.

And you've never found
anyone like him since.

You keep looking, hoping
this will be the one.

But it's never the same.

All those partners, all
those men, none of them

were ever Jonathan.

Why are you doing this?

What about me?

How did I compare?

You didn't.

What about Creegan?

Nobody Nobody compares.

You're lucky, you know that?

Right now I don't
feel so lucky.

Well, you had someone special,
even for just a short time.

Some people go through their
whole lives looking, hoping--

nothing happens.

Like you?

I thought maybe
you were special.

I didn't reckon on Creegan.

I told you before,
there's nothing--

- Don't lie to me.
- I'm not lying!

You're always lying!

Cheating, anything to
get where you want to go

and it doesn't matter how
many people get screwed!

That's not true.

Want me to tear this up?

What does it matter?

You're going to kill me anyway.

Laney kidnapped Taylor.

I had a feeling he would.

And do you have a feeling
where he might take her?

Oh, I have some ideas.

So tell us.

Well, events must take
their natural course.

I can't interfere.

What have you got to lose?

My life's work.

I must prevail.

I think I've said enough.

That night we were together, I
haven't felt so close to anyone

in a long time.

I thought you should know.

I wondered how long
it would take you.

What?

Cheap psychology.

Get his trust, keep him sweet.

It's the truth.

It's your job.

Right now, you'd say or
do anything to survive.

No.

Oh, I love you dear,
that you're so great.

I know what happens.

I've seen it before, remember?

Emerson brought us
here and Emerson

will force you to kill me.

[music playing]

No luck with Emerson?

Can't find his weakness.

It'll be there.

You said guilt would
weaken his self-esteem.

Well, I see no sign of that!

I mean this guy
honestly believes

he's going to go on forever.

But what would it take
to maintain that belief?

More killings.

And as he can't
do them himself,

he experiences them by proxy.

Yeah, Taylor giving
him the lock of hair.

Exactly.

He believes he's
continuing through others.

And in a strange
way, he's right.

Wait a minute.

What?

His weakness-- he needs
people to believe in him.

That's perfect.

Thanks.

Tell me about Laney.

You relationship with him.

My relationship?

Teacher, pupil, master, student.

Oh, he was so repressed.

I set him free.

And now you live
on through him.

No, the [inaudible] lives on.

We simply say of it.

He made you into
a household name.

He simply wrote what he saw.

Got you your place
in the history books.

Where is this leading us?

Just today's paper.

He's taken over, Emerson,
donning your mantle.

He wouldn't.

He's taking the credit
for all the other murders.

You know that's not true.

Oh, I know.

But what will the public think?

What will the history books say?

What are you waiting for?

Why don't you kill me now?

Everything at the
appropriate time.

You're waiting for
Creegan to find me.

What if he doesn't?

He will.

When you kill me,
what will be the reason?

Reason?

I don't need a reason.

I just have to be
myself, my natural self.

You're even beginning
to sound like Emerson.

I don't believe you want to be
doing this, not the real you.

What would you know
about the real me?

I know the you
I saw that night.

You thought you could
manipulate him, control him.

He's left you behind, Emerson.

Stolen your image.

Destroyed your reputation.

Enough!

This is as it should be.

He was the one
manipulating you.

No.

We had an agreement.

If ever I was
killed or arrested,

he would continue my work.

- It's his work now.
- No.

He told you about Foulds.

He-- this is--

this is wrong.

You're losing
control, Emerson.

Laney has the control.

I have the control!
Me!

Me!

So use it.

He told me about driving
the woman to suicide, said

he would do the same to Foulds.

I told him that wasn't
enough, killing by proxy.

You can't taste words.

Where's Taylor?

Did he leave a message?

He said, I'm
sending you a reward.

It's the same
message I sent him

before I killed Emily Hawkins.

He's recreating her death.

The shack.

Creegan?

Don't hesitate this time.

You think you
know the real me?

Do you know this part?

(ON RADIO) Sometimes
I have this daydream.

It can happen at anytime.

I can be walking
down some street.

(ON RADIO) What do you see?

(ON RADIO) Women strangers--

I don't know them,
but I watch them.

(ON RADIO) And do they
know they're being watched?

(ON RADIO) Sometimes.

(ON RADIO) And
how do they react?

(ON RADIO) Fear.

They catch me watching,
I see fear in their eyes.

(ON RADIO) How does
that make you feel?

(ON RADIO) In control.

And then the daydream comes,
and I see myself following

someone, hunting them down.

(ON RADIO) Do you kill
them, in your dream?

(ON RADIO) Not to begin
with, but lately, I'm not sure.

(ON RADIO) How
would you feel if I

told you these were not dreams?

(ON RADIO) Of
course they're dreams.

(ON RADIO) And what are
dreams but alternate realities,

a parallel dominion
where you can be king?

(ON RADIO) I haven't
actually killed anyone.

(ON RADIO) Well,
how can you know--

what's imagined?

What's real?

(ON RADIO) What
are you saying,

that I've killed these women?

(ON RADIO) How would
you feel if you had?

(ON RADIO) Complete

The real me.

Do you think this
is a dream, David?

What?

All of this, us, we're
just a dream to you?

Nobody knows for sure
what's real, what's imagined.

This is real, David.

These ropes are real, that
knife's real, you and me.

Shut up.

Emerson was manipulating you.

And he still is.

No.

My choice.

I let him inside.

I should go in.

If he's recreating
Emily's death,

he needs you to be there.

Maybe he won't kill
her if it's me.

I have to go in.

You don't have to worry.

I can do this.

Another time.

Laney's mine.

First time I killed a
man, it nearly destroyed me.

Me or him, I had no choice.

I remember every detail,
the movement of every muscle

on his face as he died.

I felt this rush of life.

Most alive I've ever felt.

Enjoyed it?

No.

But I didn't feel guilty.

Not then.

No emotion.

But later, when I had to
watch him die over and over,

then there was emotion--

too much.

You felt that?

Still do.

How do you keep it
[inaudible],, get rid of it?

You don't.

I'm still here.

There is hope, David.

I can help you find it.

You'd help me?

We can help each other.

You really are special.

You OK?

Let's move.

So what do we do?

You cover the front.

[music playing]

What's wrong?

Shit!

David, no!

- You don't want to do this.
- Shut up!

Don't kill him!

He won't kill me.

He won't!

He doesn't want to kill me!

Shut up!

Put the knife down, David.

Can't.

I've been real.

I have to.

I have to.

He's not Emerson, Creegan.

What?

He isn't Emerson!

He doesn't want to
kill me and he won't.

Put the knife down, David.

You don't have to do anything
you don't want to do.

Put the knife down
and I'll help you.

Put the gun down, Mark.

Mark, put the gun away!

You stupid bastard!

What?

He wasn't going to kill me!

He had a bloody
knife at your throat!

You saw it, he had a knife.

[music playing]

[theme music]