2.21: CREATURES OF THE NIGHT - Available

[CC Fan]

Recap Provided By Cellogal

August 2, 1977

The lobby of a movie theater. As Richard O’Brien sings “Time Warp,” we see a poster for The Rocky Horror Picture Show, and this time, I have a sneaking suspicion that we may actually see the movie. Call it a hunch. Anyway, a guy in a doorman’s uniform looks around for someone, and he finally spies a pretty blonde woman, who’s delighted to see him. They hug, and she gleefully concludes that he did it. He sure did, they’re going to New York. She’s thrilled, saying this means they’re finally going to see Broadway, and he says that she’ going to be on Broadway. “Kelly Witkowski, up in lights,” he enthuses. Kelly adds that he’ll open his coffee shop, but he corrects her, saying it’s a coffee bar, then asks if he’s crazy thinking people are going to pay a buck for a cappuccino or an espresso. Heh. She says the only crazy thing is him doubting himself, and he tells her there’s no going back. She agrees, and they join hands and head into the theater.

The theater’s a rockin’ place, with people dancing and singing along, and people up on stage acting out the scenes as they play behind them on the screen. Kelly starts singing and dancing, but the guy says he can’t dance. She encourages him, but he’s content to just watch.

A train station. We find the guy’s body lying near the tracks. An evidence box marked “Cahill, M.” is placed on the shelf in the warehouse.

Present Day

In what is now officially one of my favorite scenes ever, Vera comes in carrying a tray full of those fancy coffee drinks our murder victim didn’t think people would pay a buck for and starts distributing them. He hands a caramel macchiato to Jeffries, who promises to pay him back. “Yeah, right,” Vera comments, then hands Lilly a triple Americano. “Rocket fuel…thanks,” she says with a smile. Vera notes with some amusement that the last drink, a latte with nutmeg, is for Scotty. Ha ha, Scotty and Jeffries like girly coffee! Scotty takes the coffee and asks if Vera has a swirly. “No, Your Highness,” Vera replies sarcastically. “Shall I fetch you one?” Hee. Scotty says that’d be good, and he also wants a napkin. Wow, high maintenance much?

Stillman comes in then, saying he just got off the phone with the Trenton DA, from whom he learned that a serial killer named Roy Brigham Anthony is about to be paroled. Lilly expresses shock that a serial killer didn’t get life, and Stillman explains that Anthony made a deal with the DA in 1980, confessing to a murder they couldn’t prove, in exchange for 25 to life with mandatory time off for good behavior. “And he behaved,” Lilly notes wryly. Stillman agrees, saying it’s been 25 years, and now Jersey’s deal has come back to haunt them. Yeah, I’ll say. Scotty asks why the DA called them, and Stillman says that they’re hoping our fearless five can find a murder Anthony did in Philly, extradite him, and lock him up there. He says that Anthony spent the summer of 1977 in Philly, when he was 21. Lilly suggests looking at all the cold jobs from that summer, and Scotty’s getting the feeling they’re off to the Garden State. Stillman agrees, saying the prison warden is expecting them. He starts to go, then turns back and tells them, by way of added incentive, apparently, that if Anthony walks, he’s going to kill more people. Lilly asks if the Jersey DA said that, and Stillman replies that, no, Roy Brigham Anthony did. Oh, snap!

Credits.

Evidence Warehouse, where Vera, Jeffries, and Stillman are digging through boxes. Jeffries asks if Anthony had a pattern, and Stillman answers that Anthony killed both men and women, at night, with his bare hands. Vera notes that the lack of sexual abuse rules out a woman named Maggie, and Jeffries can also rule out a guy named Victor. Stillman continues, saying Anthony’s victims weren’t robbed, but he did take a trinket from each one, which they found in a trunk in Anthony’s basement. All the trinkets except one have been matched to a victim, Stillman says, and he shows them a picture of a gold charm. “Is that a goat?” Jeffries asks in disbelief. It is, indeed. Stillman adds one more thing: all the victims were wearing uniforms of some type. With this information, Vera can eliminate all the jobs except Mike Cahill, a doorman at the Carlisle, found in the Tasker-Morris subway station in the wee hours. Noting the rough neighborhood, Stillman asks if Mike had a record, and Vera says he didn’t, but he was wearing his doorman’s uniform. Jeffries suggests that they see if Mike carried a goat charm around, and Vera says he’s their best shot. Stillman says he’s their only shot.

Prison in New Jersey. Led in cuffed at the wrists and ankles, Roy (played by Barry Bostwick: very clever, writers!) cheerfully introduces himself to Lilly and Scotty. Scotty, with much less enthusiasm, returns the introductions, and Roy asks if they’re from Trenton or Atlantic City; Lilly says they’re from Philadelphia. Roy sits down and says he spent a few months there, and Scotty says that’s why they’re there. Lilly shows him a picture of Mike Cahill and asks if Roy remembers him. Roy politely says he’s never seen Mike before. Scotty suggests that maybe Roy will remember him better like this, and shows him a picture of Mike’s dead body. Roy flinches and looks away with an “Oh, dear.” Lilly points out that Mike looks a lot like Roy’s other handiwork, and shows him scene photos of his other victims. Roy comments that “God’s work” can be brutal, and says that he was just obeying orders; a light shines on someone’s face and he doesn’t have a choice. Scotty asks if God shone a light on Mike in the summer of ’77, and Roy maintains that he doesn’t know that man. Lilly shows him a picture of the goat charm, asking if he’s seen that before, and he doesn’t recall. They clearly don’t believe him, pointing out that the charm was found in the trunk with all his other trophies, and they think he took it off of Mike after his first kill. “No, sir,” is Roy’s reply. This guy sure is a lot more polite than their other serial killers, I have to admit. Lilly suggests that they talk about Roy’s stay in Philly. Roy explains that his father took him there when he was 21, fresh from Provo. Lilly comments that the big city must have been a shock, and Roy politely agrees, adding that he stayed with his Aunt Louise.

Louise’s apartment, where we hear Jonathan Adams sing “Eddie.” Roy’s father, wearing a military uniform, tells Roy he doesn’t want to hear about any misbehavior. Roy, who’s standing at attention, responds with a “Yes, sir.” Louise reassures Roy’s dad, Edward, that he’s sure there won’t be any trouble. Edward continues, saying Louise was good enough to find him a job, and instructs Roy to turn all his wages over to her, then sternly adds that he is to wear the garments, or…”Hellfire and brimstone, sir, gnashing of teeth,” Roy answers fearfully, noting that his dad looks like he’s about to slap him. Louise says she can tell already that Roy’s a good boy, and Edward reminds her about the girl in Provo, saying Roy’s here for a clean slate, to reform. Roy promises to wear the garments and only think clean thoughts. Edward asks what else, and when Roy can’t remember, he sternly reminds him to “never, ever disrespect the Lord.” When Roy doesn’t respond, Edward snaps his fingers, then gets in his face, demanding to know if Roy’s listening. He is, and promises to obey his dad’s instructions. Edward steps back and marches out. Roy asks when Edward’s coming back for him, and Edward says that depends on how well Roy obeys the rules. Roy promises to obey, and his dad nods and walks out.

Scotty asks Roy what he did to the Provo girl, and Roy says he lusted for her. Scotty concludes that this is what got him shipped out of town, and Roy agrees, saying it’s against their beliefs, outside of marriage. Lilly concludes that Roy was scared of his dad, and Roy nods, saying his dad was a powerful man. Lilly surmises that this is why Roy killed people in uniform, and Roy looks confused, saying he loved his dad. Lilly argues that he couldn’t obey Edward’s rules, and that made him lash out. He angrily protests that he followed the rules. Scotty asks if Roy still gets “orders,” and Roy agrees, saying the light still shines, and that’s why he’s glad he’s getting out: he’s got a lot of work to catch up on. Meaningful Glance Time!

Neighborhood in Philly. A charming guy with an Irish brogue remembers Mike well; he was the doorman at the building for two years. Vera says they’re trying to connect him to Roy and shows him a picture. The Irishman, Dan O’Brien, doesn’t know Roy, and asks who he is. Jeffries says he’s a serial killer, Roy Anthony, and Dan asks if he’s the guy who “mardered” Mike. Boy, do I love Irish brogues. I could listen to them all day. Jeffries says it’s possible, and Dan waxes nostalgic, saying that, in 30 years, Mike was his favorite employee; a charmer, always with a smile, who would go the extra mile for the tenants. Vera asks if there was anything unusual about the day Mike died, and Dan remembers that Mike quit that day, saying he was headed to New York with a business idea, thinking there was a market for gourmet coffee. He says that Mike would have had the Starbucks folks beat by a decade. I’m trying to picture the 80s with the addition of gourmet coffee. Eek. Scary. Vera asks if anyone was unhappy about Mike leaving, and Dan says that everyone was, since Mike was a favorite. Jeffries asks if there was anyone in particular, and Dan points to Helen Hargrove, the building owner’s wife. Dan says the two would chat 24/7, Mike telling her his business plans. Vera asks if Helen was a big fan of his idea, and Dan says she was a big fan of Mike’s.

Lobby of the Carlisle, serenaded by Barry Bostwick singing “Super Heroes.” As they get off the elevator, Helen says she’s just not up to going out, and her husband protests that it’s Beverly Sills’ last tour. Hey, I’ll go! Helen says she just can’t make it tonight, and he argues that it’s every night. She really doesn’t know what’s wrong, and he says it’s getting tiresome. He leaves, and Mike opens the door for him, telling him to have a good evening. Helen tells Mike that her husband’s angry, and Mike doesn’t blame him. She asks Mike if she’ll see him tonight, and he says no, that they have to stop. She says they don’t, and Mike argues that she needs help he can’t give her. She says he helps her every night, and he says if she doesn’t put an end to this, he will, and he’ll tell her husband everything. She says he wouldn’t; he says he would. Dan watches as Helen storms off and Mike just stands there pensively.

Jeffries concludes that there was some hanky-panky going on, and Dan reiterates that Helen was a fan of Mike’s, and he did see Mike in her apartment quite a few times, late at night. Vera theorizes that Mike’s “going the extra mile” might have gotten him in trouble, and Dan says that Mr. Hargrove did have a temper. Jeffries theorizes that Helen entertaining the doorman late at night might have set him off. “No might about it,” Dan agrees.

Squad room. Vera and Scotty inform Stillman that it looks like Mike Cahill was running around with a married lady tenant. Stillman says the love triangle might point to a revenge motive for the husband, and Scotty and Vera realize that if this is true, then Roy’s not the doer, and Jersey’s out of luck. Stillman wonders how a doorman from Rittenhouse Square and a Mormon kid in East Falls meet up at the Tasker-Morris stop. Scotty suggests that maybe Aunt Louise can shed some light, and they start to leave, but Mark Phillips shows up, asking if one of them is Scotty Valens. Scotty wants to know who’s asking, and Mark introduces himself. Scotty reluctantly returns the introduction and goes off to talk to Mark. Vera and Stillman exchange a glance, and Vera has this look on his face that says he’s DYING of curiosity. I don’t blame him, really; it’s not every day that NYPD comes looking for one of your co-workers!

“So you’re Christina’s guy,” Mark concludes, and Scotty reluctantly owns up. Mark comments that Scotty dating his partner’s sister has gotta be tricky. Oh, Mark, you have no idea. Scotty demands to know what he wants, and Mark says it’s a cop-to-cop courtesy call, that he’s got a warrant for Christina’s arrest. Scotty wants to know what it’s based on, and Mark tells Scotty to talk to Chris about that. Scotty’s sure that whatever it is, it’s crap, and Mark says if Scotty doesn’t want to get involved, he’ll treat her like a “skell” (NYPD-ese for “doer,” apparently) and haul her back to New York, or Scotty could arrange a conversation. Mark tells Scotty that this could go easy or hard. “Don’t…cop-talk me,” Scotty orders. Mark smiles and nods, and says it’s Scotty’s call. Scotty says he needs some time to talk to Chris, and Mark asks about the day after tomorrow. Scotty says that should be good, and Mark says it’s gotta be, because he’s not leaving Philly without her. Uh-oh, Scotty. In the immortal words of Stewie Griffin, it looks like your uppance has come.

Squad room. Scotty broods out on the balcony, and Stillman opens the door and tells him Roy’s aunt is there. Scotty agrees, but something in his tone catches Stillman’s attention, and he joins Scotty on the balcony. He asks what this New York detective wanted, and Scotty explains that this girl he’s been with is being accused of credit card fraud, which is crazy. Stillman glances over at him and asks Scotty if Lil knows this guy’s looking for her sister. Wow, that was smooth. Scotty gets this “Oh, snap” look on his face; then, after an awkward pause, says Lilly knows, but washed her hands of it, and that Chris just needs to talk to him and sort it all out, because Phillips has it wrong. “Long way to come for gettin’ it wrong, Scotty,” Stillman comments, then heads inside. After a moment, Scotty follows. Can I just say how much I LOVE Stillman right now?

Kitchen. Louise is telling Lilly that Roy stayed with her for three months in 1977 before what she calls the “difficulties” in New Jersey. Scotty calls them murders. Potato, potahto. Lilly says they’re looking into a Philadelphia murder, and Louise protests that Roy didn’t do that in Philly. Lilly asks how she knows; Louise is forced to admit that she doesn’t. Lilly shows a picture of Mike to Louise, and she says Roy didn’t mix with people much, outside of his co-workers from the Franklin Grill, where he was a busboy. Lilly asks if Roy ever brought friends home, and Louise says he didn’t make friends in Philly. Scotty asks Louise if Roy ever said anything about his “God’s light” theory, and Louise says no, but wonders if Mike is the one who hurt Roy. She says Roy would come home late at night with injuries. Scotty asks from what, and Louise says he never told her.

Louise’s apartment. As Peter Hinwood sings “Don’t Do it. Be It,” she knocks on the bathroom door and asks Roy if he’s hurt again, then asks who does this to him and tells him to let her in. He answers the door with nasty looking burns on his hands and admits that it hurts. I’ll say. Louise comes into the bathroom and reminds him of how Mary Magdalene poured oil on Jesus’ blistered feet, and says she’s going to do the same for him. She rubs oil on his hands, and he says it feels good. Louise tells him that one day, maybe not so for from now, he’ll meet a nice girl who will touch not only his hands, but his heart, where it really counts. Roy seeks reassurance that it’ll be all right, because she’ll be good and pure, and Louise agrees, saying only good and pure thoughts come from a good and pure girl. Roy thinks he’s going crazy because he hears things. Louise asks him what kind of things, and he tells her he hears voices. I’m thinking Roy may not be the only one who’s a couple fries short of a Happy Meal.

Aunt Louise says that was when she knew Roy was lost. Lilly asks if she ever found out who hurt Roy, and she never did. She says she probably should have done more for Roy, but late that summer, he ran away, and she says she hates to admit it, but she was relieved. Scotty remarks that a serial killer in the making would be a tough houseguest, and Lilly tells Louise that she’s lucky he didn’t hurt her. She says he broke her heart, and that hurt.

Helen’s apartment. Helen thanks Vera and Jeffries for coming to her, saying she doesn’t leave her apartment. Noting the opulence of the space, Jeffries says he wouldn’t either, if he lived like this. She says it’s psychological, that she has phobias. Vera says he has that about snakes. Heh. Jeffries says they’re looking into the murder of Mike Cahill, her former doorman, and she laments that it was awful. Vera asks Helen what she knows about it, and she says it’s just what she read. Jeffries says they kinda heard Mike was more than just the doorman, and Helen admits, after a pause, that Mike was a friend. Vera encourages her to keep going, and Helen says Mike was fifteen years her junior. She says she wouldn’t have said no, but it wasn’t “like that.” Jeffries asks why Mike was coming to see her late at night, and she says he was helping her, that this was when her agoraphobia started, and Mike would run errands for her, like pharmacy runs and cheesecake to go. She adds that he would stay and keep her company some nights, playing gin rummy. Jeffries asks if her husband knew about her problem, and Helen says she tried to keep it from him, since she was hoping it was temporary. Jeffries asks if Helen saw Mike the day he died, and she says Mike came to tell her he was leaving.

As Richard O’Brien sings “Science Fiction/Double Feature (Reprise), Mike tells Helen not to cry. She says she never thought he’d actually go, and Mike says he has to take that leap. Helen asks why it has to be New York, and Mike doesn’t know. “Kelly,” Helen guesses, and Mike says she belongs on Broadway. Helen comments that Kelly is a lucky girl. Mike asks her to promise that she’ll see a doctor and get some help, but Helen asks how she can make Mike change his mind. “You can’t,” he says, and then she tells him she has something for him. She pops open a jewelry box to reveal that gold goat charm, and tells him the legend that a goat herder came across a goat eating red berries, tried one, and realized why the goat was dancing. Wow! Nothing says “I love you” like a wasted goat! Oh, wait. They’re not done with the story yet. Mike smiles and says that’s how coffee was discovered, and Helen smiles, saying that’s how the legend goes, then tells him that it’s for his coffee bar. He thanks her, and she says she’ll be rooting for him.

“You gave him the goat,” Jeffries concludes, which is instantly at the top of my Best Out Of Context Quote List, and Helen says it was the last night of his life. Vera asks if Kelly was Mike’s girlfriend, and she agrees, saying she was a waitress at the diner where Mike got her cheesecake. Vera asks the name of the place, and Helen says it was the Franklin Grill. Jeffries remembers that this is where Roy worked. And so the plot thickens.

[TVFan]

Scotty’s apartment, where he’s getting ready for work and fighting with Christina at the same time. She protests that all she did was call in some credit card numbers, which Scotty concludes means she used them, but Chris says her boss was the one who used them. Scotty points out that this boss was also her boyfriend, and she owns up to that. Scotty goes into detective mode, finding it hard to believe that Greg was using credit cards and ripping off customers, but Chris didn’t know that. Chris insists she didn’t, and Scotty asks why Greg’s telling Mark that it was Chris’s idea. Chris says it’s because Greg’s a liar, who’s mad that she broke up with him, and Scotty argues that they have phone calls with her voice on them. Chris reminds him that she just said she called in the numbers. She says she’d been working there for two weeks, and Greg gave her the account numbers and told her to call them in to Bindel’s department store, saying they had a standing deal: flower arrangements in exchange for stuff from them. “And that sounded legal to you,” Scotty says sarcastically, and Chris puts on her best damsel-in-distress face and says she doesn’t know, that she was just trying to keep a job. Scotty considers her for a moment, and then says that if that’s the truth, then all she has to do is meet with Mark. Chris insists that it’s the truth, and Scotty tells her to meet with Mark and straighten it out. “Well, I hope he believes me as much as you do,” Chris says sarcastically. Scotty says he’ll call Mark and set up the meeting, and Chris asks Scotty if he’ll be with her. He says of course he will. “Then I’ll be okay,” Chris says. He stops, sighs, and then takes her hand and apologizes, saying he does believe her, then leaves for work. Boy, does she know how to manipulate Scotty. It’s quite remarkable, really.

Stillman’s office. Stillman introduces Lilly to Larry Pappas, Roy’s employer at the Franklin Grill, and Larry jokes that “He Hired A Serial Killer” will be on his tombstone. Stillman says that Larry also knew Mike, and Larry did, saying Mike always gave him grief about his bad coffee. Lilly asks if Roy and Mike met at his diner, and Larry says that if those two met, it was through Kelly: the waitress/actress, whom he called a “wactress.” That’s a great title. Larry says Roy mooned over Kelly like she was a Madonna. Lilly asks if Roy was jealous of Mike, and Larry says he never knew what was going on in Roy’s head, adding that he was “off:” distracted, uptight, with real strict rules. Stillman asks about the rules, and Larry says it was mostly religious stuff, like “don’t disrespect the Lord.” Lilly tells Stillman that Roy’s father told him that, and Larry adds that that particular rule was big with Roy; if anyone crossed that line, he’d have a cow.

Franklin Grill, where we hear Meat Loaf singing “Hot Patootie (Bless My Soul). Larry comments that it’ll be busy tomorrow with the Sunday School crowd, and Kelly agrees that it always is. Roy asks if they come here after church, and Larry says they come instead of church: their parents give them a buck for the collection, but they spend it on breakfast instead. Roy’s incredulous, saying this is disrespectful, and Kelly asks if it’s disrespectful to their parents, and Roy says it’s disrespectful to the Lord. “But it’s good for business,” Larry comments, and Roy’s outraged, asking if it’s good to cheat God. Larry tells Roy that God’s a rube, and Roy puts his hand down on the grill. Kelly demands to know what he’s doing, and takes his hands off the grill, and he says they shouldn’t disrespect the Lord. Kelly says Roy doesn’t have to hurt himself, and Larry agrees, telling him to relax, as Kelly puts water on his burns. Kelly asks Roy why he did that, and Roy says it was either hurt Larry or hurt himself. Kelly continues gently rubbing water on the burns, and Roy says it feels good. Kelly comments that he’s sensitive, and Roy says he can’t help it, that he has these feelings. “Pent-up, right?” Kelly asks, and Roy agrees. Kelly asks if he needs an outlet. He smiles and tells her she’s pure and good, and she says she’s just like anyone else. Roy disagrees, saying she understands him. Um, I’m gonna go out on a limb here and say she doesn’t. Kelly announces that what Roy needs is a late night double-feature picture show. Roy agrees, and Kelly suggests that they go on Saturday as Larry looks on in disbelief. I’ll say. Wactress Asks Out Wacko: Details at eleven!

Lilly asks if Roy gave himself those injuries, and Stillman says he turned from hurting himself to hurting others. Larry asks if Roy killed people because he cursed “the Big Man,” and Lilly says it may be a combination of things. She asks if Larry was wearing a uniform that day, and Larry says it was just his kitchen whites. Stillman and Lilly do the math: uniform + disrespecting God = burned hands. Stillman wonders what else gets thrown in that turns it into murder.

Outside a law office. Kelly tells Scotty and Vera that she never did make it to New York, since she was still pretty broken up over Mike. Scotty asks her if she remembers Roy, and she does; saying he was from Utah, and he was kind of an oddball. Vera says they think Roy killed a bunch of people starting with Mike, and Kelly’s shocked, then remembers that she introduced Mike and Roy that night. Scotty asks how that went down, and Kelly says she took Roy to The Rocky Horror Picture Show that night. “Roy Brigham Anthony at Rocky Horror?” Vera asks in disbelief. Kelly says it was midnight at the Avenue Theater, and she thought she’d broaden Roy’s horizons. Scotty asks if a movie could do that, and Vera says that Rocky Horror wasn’t just a movie, it was an experience, and Kelly agrees, saying it was the time of her life, and that she played Janet. Vera can see that. Scotty watches them fanwank with a curious look on his face, then asks if Mike was at this experience, too. Kelly says Mike always came to watch, but that night, things went wrong.

Theater, where Tim Curry’s singing Sweet Transvestite. Kelly introduces Mike to Roy, who’s sitting there in disbelief asking why Tim’s wearing those clothes. Kelly explains that he’s a transvestite, and a transsexual, from Transylvania. “And an alien,” Mike adds helpfully. Roy considers this for a moment, then announces that his God is from another planet, and Kelly hastily explains to Mike that Roy’s a Mormon. Roy asks if Kelly’s sure they should be doing this, and Kelly says it’s okay, that she comes every week. Mike asks Kelly if Roy’s another admirer, and she says he’s just a lonely guy from work. “Wait’ll he sees you in your big number,” Mike says bitterly, and Kelly tells him not to do this. Mike gets all pouty, saying Kelly’s so beautiful and talented, and he’s just a doorman with a high school diploma. Kelly protests that he’s going to be a big businessman, a coffee tycoon, but he disagrees, saying she’s going to get famous and he’s going to lose her in New York. Roy watches the movie with an expression that’s a mix of disbelief and horror, and then the music changes to Susan Sarandon singing “Touch-A Touch-A Touch-A Me.” Kelly stands up, saying she has to do her number. Mike says he can’t go, and that he’s sorry. Kelly says she’s going, with or without him, and it’s his choice. She then grabs Roy and tells him to be her Rocky. She takes him up onstage and starts singing along with Janet, rips her top off, then returns the favor for Roy, removing his shirt and pants. Suddenly, Roy spies his Aunt Louise, who rushes up and hauls him offstage.

Vera finds Aunt Louise at Rocky Horror even harder to believe than Roy, and Kelly says it ruined the whole number. Scotty asks what Kelly did after Louise ruined her number, and she says she left and took the train home, with Mike still sitting in the front row, doubting himself as always. Scotty asks what train she took, and she says she took the 14, from the Tasker-Morris Station. Vera says this is where Mike was found, and Kelly remembers, saying she always wondered if he followed her there, to say he was coming after all. Scotty says it’s possible, and Kelly says she’d like to think so.

Squad room. Stillman, Jeffries, and Lilly are kicking around the theory that Mike getting the ultimatum from Kelly made him follow her, which put him at the Tasker-Morris stop. Stillman and Jeffries say that Roy was with Aunt Louise, probably getting an earful, and Lilly wonders how he gets to that platform, too, and Jeffries wants to know what happened there that made Roy kill for the first time. Lilly spies Mark and Scotty waiting in the conference room for Chris, and asks Stillman how late she is. She’s over an hour late. Yeah, that looks innocent. To her credit, Lilly looks like she might be starting to care just a little bit, and then turns and leaves.

Conference room. Scotty’s trying to call Chris again. Mark makes sure Scotty told her seven, and he insists that he did. Mark says he’s got eight-thirty, and asks Scotty what time he’s got. I’ll bet he’s got the same time. Scotty doesn’t answer, just flips his phone closed and says that something must have happened. “Like maybe she split,” Mark suggests, but Scotty insists that she didn’t, that she said she’d be there. Mark asks if Scotty helped Chris out, and Scotty’s blood’s starting to boil. He tells Mark to be careful what he asks him, and Mark continues, theorizing that Scotty’s so whipped he’ll do anything for this broad. Scotty heads toward him, angrily telling him to keep going. They stare angrily at each other for a moment, and then Mark guesses that Scotty’s been having rough times. Scotty backs down a bit, asking why that matters, and Mark says he’s trying to figure out why Scotty’s off his game with this girl. Scotty demands to know why Mark’s acting like he knows him, and Mark reminds Scotty he’s a cop; that skells lie to him all the time, and he should be wise to a con. Scotty insists that Christina isn’t a con. Mark says he’s been in that situation, musing about the power of a pretty girl, and Scotty angrily says Mark’s not hearing him, and that he’ll go get Chris and bring her back. I got ten bucks that says he doesn’t find her; any takers? Mark says he’ll wait till nine, then Chris becomes a fugitive.

Scotty’s apartment. In a scene eerily reminiscent of the one where he was looking for Elisa, Scotty charges in calling for Chris. There’s no answer, and he realizes that his apartment’s empty. Then, he spies a note on the coffee table, and seems to realize he’s been had. He sits down and stares at it for a moment, then picks it up. It reads, “Sorry. –C.” He puts it down and chuckles wryly to himself, then leans back in the chair, wallowing in his own stupidity. Oh, Scotty. I love you, but…you SO should have listened to Lil.

Interview room. Scotty asks Louise if she’s seen The Rocky Horror Picture Show, and she says certainly not, that it’s for heathens. Scotty points out that one of those heathens saw her at the theater the night Mike Cahill died, spitting fire and brimstone. Louise asks if that’s a fact, and Jeffries asks why she didn’t tell them that. She says she couldn’t because she made a mistake that night that she’ll never forgive herself for. Scotty asks what mistake that was, and when she doesn’t answer, reminds her that she’s protecting a serial killer. Oh, she’s well aware of that, saying she made him who he is. She says Roy called and asked her if he could go to that “so-called entertainment,” and she said no and told him to come home, but he disobeyed “because of that girl,” saying Roy went astray lusting for her. Oh, Scotty knows all about that. Jeffries asks if she went to the theater to get him, and Louise remembers it a den of sin, with all these people dancing in their underwear, especially Roy.

Theater lobby. Louise tells Roy that he’s committed the ultimate sin and turned away from God. He says he hasn’t, and she disagrees, saying he was cavorting in his “garmies” with a harlot. Roy protests that Kelly’s not a harlot, she’s his Mary Magdalene. Louise scolds him, telling him not to compare that low woman to God’s disciple. Roy argues that Kelly’s pure and nice, but Louise points out that a nice girl wouldn’t do those things outside the marriage bed. Roy decides he should marry her, and Louise says that’s the sinner talking, that that’s what got him in trouble in Provo. Roy protests that he’s alone, and Louise tells him to listen to God, or he’ll be lost. Roy asks if that’s who talks to him, and Louise asks who else it would be. Well, I’ve got some ideas, but I’ll spare the snark. Roy says he thought that meant he was crazy, and Louise reminds him that Joseph Smith and Brigham Young heard voices, and Roy realizes that they weren’t crazy. Louise agrees, saying they were the fathers of the Latter-Day Saints. Roy says he’ll listen, and Louise says it would be a sin not to.

Scotty scribbles notes as Louise asks him if he sees now why she feels responsible. He realizes that it’s because Louise told Roy to listen. She says she thought it was God speaking to him, but it was Satan.

Prison in New Jersey. Scotty asks Roy if God speaks to him and shines a light, and Roy confirms it. Scotty says it sounds real holy and righteous and all, but he doesn’t buy the prophet act, saying it’s bogus. Lilly warns him, saying that Roy doesn’t like him disrespecting the Lord. Scotty continues, saying Roy thought he was some special messenger from God, but he was really just a regular frustrated guy who wanted a girl. Roy tells Scotty he obviously doesn’t understand, and then Scotty and Lilly put the pieces together: Roy went after Kelly that night, wanting more of what he saw in the theater, but instead of Kelly at the station, he found Mike, and that’s where it all came together: the perfect storm. Roy doesn’t know what they mean, so they explain it to him. Mike was wearing his uniform, and Lilly theorizes that maybe he broke one of Roy’s rules and disrespected God. Scotty knows what that makes Roy do, and Lilly adds that all the while, there’s that little voice, the one Aunt Louise told him to listen to. Roy argues that God’s voice isn’t little. Lilly continues, saying things are really brewing, and Roy, getting agitated, protests that he does God’s work. Scotty says he just needed one more thing to push it over the edge, and Lilly asks him what the last ingredient was that turned him into a killer. Roy angrily says he’s already told them that, and Scotty asks, incredulously, if it’s “that ‘God’s light’ crap.” Roy, aghast, asks Scotty what he just said. “You heard me,” Scotty replies. Roy protests that God’s light isn’t…but he can’t actually say the word, so he switches tactics and screams that God’s light is real.

Train station, where we hear Tim Curry singing “I’m Going Home.” The train’s pulling away, and Mike’s shouting after Kelly. He turns around and sees Roy running up to him, and asks him what he’s doing there. Roy asks where Kelly is, and Mike replies that she’s gone. Roy says he has to speak to her, and Mike says he does, too. He asks Roy what his big emergency is, and Roy happily says he has to marry Kelly. Mike’s incredulous and tells Roy to get in line, that he’s first. Roy protests that Kelly’s his Mary, and Mike says he and Kelly are going to New York. Roy places his hand on Mike’s chest and tells him that she’s his Mary Magdalene, and Mike removes Roy’s hand and tells him to watch the uniform, then asks him who Mary Magdalene is. Roy asks if Mike reads the Bible or goes to church, and Mike tells Roy that he knows he’s a “Jesus freak,” but he doesn’t care about God. This is the last straw, and Roy reaches forward and strangles Mike. He stands up to leave, but then sees the goat charm sticking out of Mike’s pocket, so he takes it, then walks away.

As Barry Bostwick’s “Over At The Frankenstein Place” starts up, Roy walks through the Jersey prison on his way to Philly, and Scotty and Lilly leave as well.

Stillman carries Mike’s evidence box past a computer with a Request for Extradition clearly displayed on the screen, and we see a shot of Mike’s file as he walks past, then Mike’s box, marked “Closed.”

Helen sits in her apartment, reading, next to a fancy espresso machine. Her coffee’s ready, and she takes it from the machine and sips it reflectively, then smiles.

In a movie theater, we see Kelly sitting there watching Rocky Horror with a smile on her face, and a few rows back, we see Vera and Jeffries. Vera’s munching popcorn and having the time of his life, and Jeffries is giving him this wonderful “I can’t believe you dragged me here” glower.

Scotty stands at his bedroom window, staring out into the dark streets and brooding once more.

Lilly walks through the Carlisle and sees Mike in his bellman’s uniform, who tips his cap to her with a smile.

In one final clever shout-out to the movie, the credits appear in the dripping-blood font made famous by Rocky Horror.