Carrie Anne Moss - AKA Ladies Night lyrics

TITLE SEQUENCE CUT TO: A DARK ALLEY IN NEW YORK A couple walks down the alleyway. Jessica narrates. JESSICA: New York may be the city that never sleeps, but it sure does sleep around. Not that I'm complaining. Cheaters are good for business. The couple begins having s** in the alley. It is revealed that Jessica is taking pictures of them. JESSICA: A big part of the job is looking for the worst in people. Turns out, I excel at that. Clients hire me to find dirt, and I find it. Which shouldn't surprise them - but it does. CUT TO: OUTSIDE JESSICA'S APARTMENT MAN: That b**h! She's sleeping with my brother? JESSICA: (Narrating) Knowing it's real means they've got to make a decision. One: Do something about it. Or two: Keep denying it, shoot the messenger, tell me I'm getting off on ruining their already sh**ty lives. Option two rarely pans out. Inside Jessica's apartment, the man is getting angry with Jessica and begins to push her around. Jessica throws him through her door, shattering the window. Pictures flutter to the ground. JESSICA: Then there's the matter of your bill. CUT TO: SIDEWALK DURING THE DAY Jessica walks down the sidewalk and begins narrating again. JESSICA: People do bad sh**. I just avoid getting involved with them in the first place. That works for me. The camera pans from Jessica to an ad on the side of a bus for Trish's talk show. JESSICA: Most of the time. CUT TO: INSIDE HOGARTH'S FIRM Pam talks to someone at the front desk. Jessica walks into the lobby. PAM: Jessica! Did Ms. Hogarth ask you to stop by? JESSICA: Yep. PAM: You're lying, aren't you. JESSICA: Yep. Jessica meets Hogarth as she walks down the hall. JESSICA: Got anything for me? HOGARTH: I thought you didn't like or trust me. JESSICA: Oh, come on, I meant lawyers in general. HOGARTH: Scumbag henchmen for corporate America. JESSICA: Well... HOGARTH: We just hired a full-time investigator. JESSICA: Whoever he is, he's not as good as me. HOGARTH: Hence me having offered you the job, which you rejected. JESSICA: Wasn't personal, I just prefer to freelance. No ties. HOGARTH: So you said with an impressive string of expletives. JESSICA: 'Kay, is being drunk an excuse? HOGARTH: You know, it's really about professionalism. You are erratic, and you are volatile - JESSICA: Effective! You brought me eight jobs no one could deliver on, I did. HOGARTH: And that is why I have overlooked several complaints, and have kept your methods confidential. JESSICA: You're not protecting me. You need my methods. I'm not going to beg you for a case. I will ask you, though, very strongly. HOGARTH: (After a moment of thought) I need a summon served, to the owner of several gentlemen's clubs. His name is Gregory Spheeris. The two reach Hogarth's office and enter. HOGARTH: An exotic dancer fell off the stage when a pole came loose. Severe concussion, permanent brain damage. Spheeris claims she was always that stupid. JESSICA: And you're repping who? HOGARTH: The dancer, of course. She hands Jessica the summons. JESSICA: The poor, brain damaged dancer. And? HOGARTH: Other parties interested in Spheeris's property. JESSICA: Phew. I questioned my whole worldview for a second there. HOGARTH: Spheeris's bodyguards make him very difficult to serve. Your specialty. JESSICA: This is going a long way toward me liking and trusting you. Jessica leaves. CUT TO: JESSICA'S APARTMENT Jessica is on the toilet, her phone, and her labtop. SECRETARY: Gregory Spheeris's office. JESSICA: Hi! I'm calling from Cal Jamshahi's office. My name is Karen, Karen Accord. SECRETARY: No it's not. JESSICA: Yes it is. SECRETARY: From the Vanderbuilt color guard? JESSICA: Yes! SECRETARY: This is Magda Simms! JESSICA: Oh my God, Magda! Thank God, you have to help me. SECRETARY: Why? Why are you whispering? JESSICA: Jamshahi, he's screaming about some meeting he has with Mr. Spheeris, and I don't know where or when. SECRETARY: Mr. Spheeris doesn't have any meetings today. JESSICA: No, it's not a meeting, it's... I dunno, a lunch? A dinner? I can't read his handwriting, oh no, now here he's coming! SECRETARY: Oh, could it be drinks? Tomorrow, seven p.m.? He didn't say Jamshahi would be there... JESSICA: That has to be it, where? SECRETARY: Soho House. But it's members only. JESSICA: Thank you so much, I'll call you back! Jessica hangs up. She turns around and realizes she is out of toilet paper. JESSICA: sh**. Later, Jessica walks through her apartment. She drinks from a cup of whiskey. She undresses and gets into bed. She tries to sleep for a moment. JESSICA: Oh, goddammit. She gets up and gets ready to go out, grabbing her camera and filling a bottle with whiskey. She leaves her apartment and turns off the light. CUT TO: STREET AT NIGHT Jessica stands on the street. JESSICA: (Narrating) In my line of work, you gotta know when to walk away. But some cases just won't let you go. She jumps up onto the fire escape and sits down. She watches a woman in an apartment across the street exercises. JESSICA: (Narrating) Two minutes on a treadmill, twenty minutes on a quarter pounder. She looks down to the apartment below the first one. A man is sniffing the inside of a high heel shoe. JESSICA: Ew. She watches as the man puts down the shoe and hugs a woman. She then watches as a different man leads a woman out of the bar on the bottom floor. They walk a few yards to another door, which leads to the apartments. She sees the man look out his window forlornly. Jessica looks away and closes her eyes. She imagines Kilgrave talking to her. KILGRAVE: You want to do it. You know you do. Jessica snaps out of it, panting. JESSICA: Main Street. Birch Street. Higgins Drive. Cobalt Lane. She looks back to the apartment to see the man being embraced by the woman, who isn't wearing clothes. Jessica takes a sip of some whiskey as they begin kissing. CUT TO: JESSICA'S APARTMENT Jessica is laying in her bed asleep. Two people can be heard arguing. Jessica wakes up and searches for a boot, which she throws at the ceiling. It causes noticeable damage. Jessica sighs and gets out of bed. She picks up her phone and realizes that the charger has not been plugged in. She also notices that her bedroom door is open, and hears someone in her apartment. She carefully investigates, and finds Malcolm in her kitchen. JESSICA: Goddammit Malcolm, you scared the sh** out of me. Malcolm holds up a bu*ter knife to her. MALCOLM: What're you doing in my apartment. JESSICA: This is my apartment. MALCOLM: (While chewing peanut bu*ter) That's why it's not crunchy. He licks some more peanut bu*ter off of the knife. Jessica takes the knife away from him and takes him out of her apartment. MALCOLM: You know, your door is broken. JESSICA: I hadn't noticed. MALCOLM: You use sarcasm... to distance people. JESSICA: And yet you're still here. Now go the hell home. Jessica opens her door. Outside is an older couple. The man was about to knock. MAN: Uh, excuse me. You wouldn't be, Jessica Jones? JESSICA: Yeah? MAN: We tried to call. JESSICA: My phone's been acting up. WOMAN: But you are Jessica Jones, private investigator. Malcolm nods. Jessica pushes him out of her apartment. JESSICA: Yes, I'm a private investigator. WOMAN: I'm Barbara Shlottman. This is my husband, Bob. We just flew in from Omaha to find our missing daughter. BOB: Honey, Hope's not missing if she still calls us once a week. BARBARA: She could be in a cult! JESSICA: (After a moment) Come on in. The couple comes into her apartment. Bob looks at the broken door. BOB: Looks like you stripped your screws. JESSICA: Wouldn't be the first time. Jessica sits at her desk talking to Barbara. Bob investigates the door. JESSICA: Start at the beginning. BARBARA: Hope is at NYU, on an athletic scholarship, Track and Field. Team captain. (Barbara hands Jessica a picture of Hope) A month ago she called to say she was taking a break. Which is not like her at all. She moved out of her apartment, we don't know where. When she quit the team, we got on the plane. BOB: You have a level? I could hang this straight. BARBARA: She doesn't have a level, Bob. (Continues after a pause) We went to the police. They said there was no evidence of a crime being committed, and someone there recommended that we contact you. JESSICA: The police referred you to me? BARBARA: Why? Would that be unusual? JESSICA: Not at all. Has Hope had any problems in the past? BARBARA: God, no. She's always been incredibly disciplined. BOB: How about epoxy? I could glue the screws in. It'd be temporary, but BARBARA: Stop with the damn door, Bob! BOB:And leave a woman living alone in this city with no lock and no door? It's not safe! Jessica reaches into a drawer in her desk and pulls out some glue. She walks over and shows it to Bob. He sighs. BOB: That won't work. JESSICA: I charge hourly, plus expenses. I'll get a standard contract. Later that day, Jessica eats some food and investigates online, narrating her findings. JESSICA: Shlottmans. Bob, general contractor. Barbara, accountant. Not wealthy, but legit. Son, Owen. Daughter, Hope. Track, track, more track. Jesus, more track. Friend. CUT TO: SIDEWALK Jessica walks outside. She comes to an apartment building and sneaks in. She finds a particular apartment and breaks the lock. Walking in, she finds a man and a woman living there. JESSICA: It was open. Cut to the three of them sitting around the room. The man is filming Jessica. JESSICA: Stop shooting. MAN: I'm making an experimental time lapse film of a year in my life, so... JESSICA: Riveting. WOMAN: I found him on Craigslist. I suddenly needed a roommate, so... Thanks a lot, Hope. JESSICA: You're pissed at her. Seriously, lose the camera, Coppola. MAN: I can't, it's a continuous shot. That means that there's no cuts. Jessica rips the camera off of his head and throws it across the room. JESSICA: Look at that, I found a cut. MAN: Oh! You destroyed my art! JESSICA: Mercy k**ing. Where's Hope's stuff? WOMAN: She told me to sell it for rent. Made a whole 98 bucks. MAN: Well, there's a box of her leftover junk in my closet. WOMAN: Go get it. (After the man leaves) She's not missing, you know. She's just holed up with that guy. JESSICA: There's a guy? WOMAN: Of course there's a guy. Why else would a best friend crap on you? JESSICA: She didn't mention him to her parents. WOMAN: They only talk about track. JESSICA: This guy have a name? A job? WOMAN: All she'd tell me was, "He's amazing!" I mean, did she think I was gonna steal him or something? Look, she met a guy. Case solved. The man tries putting his camera back on. JESSICA: You turn that thing on, I'll pull your underwear through your eye. CUT TO: OUTSIDE A NIGHT CLUB Spheeris leaves the club with some bodyguards. SPHEERIS: (To the valet) Yo! Chop chop! Quick like a bunny! Where's my car? A valet pulls up with Spheeris's car. He gets in. SPHEERIS: (To his bodyguards) Be back at my place in ten. He drives away. At some point he comes to a stop sign, where Jessica engages him. JESSICA: Excuse me. (He ignores her) I said excuse me. Do you know the way to the Chrysler Building? SPHEERIS: It's called Google Maps, moron. He begins to drive away. Jessica lifts up the back of his car. SPHEERIS: What the... How are you doing that? You're one of them. Holy mother of God! He attempts to get out of the car, but Jessica repeatedly shoves him back in. JESSICA: You know, you'll spend less settling this lawsuit than you did on those hair plugs. SPHEERIS: You're not normal. JESSICA: It's people like you that give people like you a bad name. Take the damn summons, Spheeris. (She hands him the summons). SPHEERIS: No, no. If you even touch me, I'll tell the world about you. There'll be nowhere to hide. JESSICA: Do I look like I'm hiding? No. You wanna know why? Because no one wants to know. They want to feel safe. They'd rather call you crazy than admit that I can lift this car, or that I can melt your insides with my laser eyes which won't leave a trace. JESSICA: Mr. Gregory Spheeris, (She takes a picture of him with the summons) you've been served. Laser eyes. Moron. CUT TO: JESSICA'S APARTMENT Jessica is asleep at her desk, holding a bottle which is spilling. She imagines Kilgrave licking her face, which startles her awake. JESSICA: Birch Street. Higgins Drive. Cobalt Lane. Jessica's phone rings. She picks it up. JESSICA: You work this late so you can return calls without actually reaching people. HOGARTH: Well, I reached you. I received your message. Cut to Hogarth, looking at the picture of Spheeris on her phone. JESSICA: So cut a check. HOGARTH: And I also received a call from Spheeris' attorney. Spheeris claims you, and I quote, "lifted his car overhead and threatened him with your laser eyes." JESSICA: (Opens her fridge). Pathetic. HOGARTH: Did you threaten him? JESSICA: Yep, with my laser eyes. And he believed that bullsh**. I could have said my hands were blenders. Clearly, there's no IQ test for owning a strip club. As Jessica is talking, Pam approaches Hogarth from behind and embraces her. HOGARTH: Well, people believe some pretty strange things these days. JESSICA: Look, if you're gonna call me volatile or whatever else, I'm really not in the mood. HOGARTH: No, no. No, it sounds like it was very calculated. Only wish I could have been there. JESSICA: Was that a compliment? HOGARTH: I'll notify payroll. Hogarth hangs up. She turns around and slowly begins making out with Pam. Cut back to Jessica's apartment. She puts on a jacket, gathers her bag, and leaves. CUT TO: SIDEWALK Jessica stands across from the same apartment building from earlier in the episode. Rather than jumping up on the fire escape, she walks across to the bar. A number of people are inside. She looks for the man from the other day, but doesn't see him. As she walks away, he exits the building with some trash bags and calls out to her. MAN: You could drink out of a gla**. JESSICA: Oh, this whiskey's not good enough to put in a gla**. MAN: Yeah? I got better stuff in there. (Gestures to the bar). I've seen you around here but you never come inside. JESSICA: I buy in bulk. MAN: (Walks over). It's ladies' night. New promotion I'm running. JESSICA: No, it's not. MAN: It is now. JESSICA: Why? MAN: You're local, you're hot, drinking alone. Tends to attract customers. But hey, don't do me any favors. He walks back into the bar. Jessica looks pensive for a moment, and then enters as well. Cut to later than night; only Jessica, the man, and another bartender named Roy are left. ROY: Headin' out, boss. MAN: Be good, Roy. ROY: Why start now, huh? Roy laughs, and Jessica smiles, downing another shot. Roy's laughter turns to coughing. MAN: Last call. JESSICA: Still ladies' night? (He nods). Make it a double. MAN: Lot of booze for such a small woman. JESSICA: I don't get asked on a lot of second dates. How long you been doing this? MAN: A while. JESSICA: You from around here? You got family here? Friends? MAN: I got regulars. Hard day at the office? JESSICA: They're all hard. MAN: Pops always said, if you don't feel good going to work, you should find new work. JESSICA: I did that. I'm working the new work. MAN: Yeah? What kind of business you in? (She doesn't answer). Right. You only ask questions. JESSICA: I'm still waiting on answers. MAN: Ladies first. (Jessica slides him a business card). You're a P.I.? JESSICA: I'm just trying to make a living. You know, booze costs money. Usually. MAN: There's better ways to hustle than digging in people's business. JESSICA: It's the only thing I'm good at. MAN: How good? JESSICA: A natural. MAN: Yeah? So what have you detected? JESSICA: Well, I can tell by the residue on this bar that four years ago, a man named Horace had buffalo wings. MAN: His name was Melvin. JESSICA: I stand in dark alleys and wait to take pictures of people boning. MAN: Except you been watching me like a hawk since you walked in. JESSICA: Force of habit. MAN: Or it's your way of flirting. JESSICA: I don't flirt. But you do. Not for sport. It's got purpose. Like getting customers to drink more. Tip more. MAN: So what else ya got, Sherlock? JESSICA: All right. A drunk spills on your shirt, pukes on your shoe, and you roll with it. But break or scratch something? He's toast. I've never seen a dive bar this clean. Because you care about it. More than anything. Maybe anyone. There's history here. Memories. Something personal, but private. So no photos or memorabilia. But you also like women. Temporarily, at least. And they like you. MAN: See, now that sounded like flirting to me. JESSICA: Again, I don't flirt. I just say what I want. MAN: And what do you want? Cut to Jessica and the man having s**. MAN: My bad, my bad. JESSICA: It's okay. It's okay, I won't break. MAN: Yeah, you will. After a few more seconds, cut the them lying in bed post-coitus. Jessica gets up and goes to the bathroom. She washes her face and hands. She opens the medicine cabinet and finds a picture of a woman. She closes the medicine cabinet and exits the bathroom. She puts her clothes on, grabs her stuff, and leaves. JESSICA: Sorry. Cut to Jessica walking down the sidewalk. She vomits into a stairwell. CUT TO: JESSICA'S APARTMENT Jessica is on her couch, sleeping. She is awoken by her upstairs neighbors loudly arguing again. JESSICA: a**holes! Her phone rings. She answers. JESSICA: Alias investigations. BARBARA: It's Barb Shlottman, Hope's mom. JESSICA: Yeah. Yes. Hi, I was just... BARBARA: What's wrong? You sound funny. Is it Is it Hope? JESSICA: No, it was just a long night researching your case. Um, Hope made some recent charges on her credit card. BARBARA: She never uses that card. We just gave it to her for emergencies. But we raised her to be frugal. Shot of Jessica talking to a woman in a lingerie store. JESSICA: So she didn't mention wanting to buy anything special? BARBARA: No. Why? What did she buy? JESSICA: Nothing unusual. (Narrating) Hope's going overboard to make her boyfriend happy. Shot of Jessica talking to a man in a suit/tie shop. JESSICA: (Narrating) She's either an idiot in love, or she's being conned. Which amount to pretty much the same thing. Jessica approaches a restaurant. JESSICA: No. No way. She enters the restaurant. MAN: I'm sorry, ma'am, we're not open for dinner yet. JESSICA: Didn't this used to be Il Rosso? MAN: Yes. Niku opened eight months ago. May I make a reservation for you? JESSICA: Have you seen this girl? MAN: May I ask why? JESSICA: I'm a private investigator. MAN: I don't want any more trouble. JESSICA: Any more? So she was here. MAN: Last Tuesday. JESSICA: Was she alone? MAN: You should really speak to my manager - JESSICA: Just tell me what happened. MAN: Her companion wanted a particular table in the back. There was a couple already seated there. But I lost my mind or something. I told them to leave. JESSICA: That's not possible... As the man talks, Jessica imagines how the restaurant is when it's open. She imagines walking through the restaurant to the back, where she remembers herself and Kilgrave sitting. MAN: What's not possible is our sommelier comping him a $500 bottle. And when he ordered his favorite dish, from Il Rosso, our chef actually hunted down the recipe from Il Rosso's old chef. KILGRAVE: To our anniversary. You'll love it. JESSICA: I will love it. KILGRAVE: Then smile. Jessica's memory ends. The man is still talking. MAN: I can't imagine why he came to an Asian fusion restaurant to order cla**ic Italian pasta. JESSICA: Amatriciana. MAN: You know him? He's not coming back, is he? Ma'am? Jessica runs out of the restaurant and onto the sidewalk outside. JESSICA: Birch Street, Higgins Drive... sh**. She begins walking, then running. She eventually gets to the apartment where Bob and Barbara are staying, and knocks on the door. Bob answers. BOB: Miss Jones. What is it? JESSICA: Who gave you my name? Which police officer told you about me? BARBARA: What's going on? Is it Hope? BOB: Is she okay? JESSICA: Did you get the cop's name who referred me? BOB: It wasn't a policeman. JESSICA: You said someone at the station BOB: He was... filing a complaint? BARBARA: Or paying a ticket. What does it matter? JESSICA: What did he say? BOB: He said he overheard our conversation with the desk sergeant about Hope, and suggested we come to you. BARBARA: He had a nice accent, English. JESSICA: Pack. Go home. Get the hell out of here. BOB: What? Why? Who is this guy? Jessica walks away, ignoring them. BARBARA: Does he have our daughter? JESSICA: Don't let anyone near you, just go! BARBARA: Are you going to find her? CUT TO: JESSICA'S APARTMENT JESSICA: (On the phone). I need one coach ticket on the next flight to Hong Kong. MAN: That would be departing in three hours. JESSICA: I'll take it. MAN: Perfect. I just need your credit card information. JESSICA: Okay, it's a MasterCard. The number is 5-2-7-4-9-3-3-2-0-6-8. That's Hope Shlottman, two T's. MAN: I'm sorry, that card was declined. JESSICA: sh**! Okay. Can you just hold the ticket for me? MAN: We don't hold tickets. Jessica hangs up. After a moment, she calls Hogarth. HOGARTH: Yes? JESSICA: I need to get paid for the Spheeris job now. HOGARTH: I put it through payroll. It takes a few days. You know that. JESSICA: Okay, then I need a loan. HOGARTH: That's not how I conduct business. You will have to ask a friend. JESSICA: I don't have any goddamn friends. HOGARTH: I'm shocked. (Jessica hangs up) Jessica? Pam approaches Hogarth and smiles. Hogarth's wife Wendy walks in. WENDY: There you are. I was waiting downstairs. HOGARTH: Oh. Wendy and Hogarth kiss. Pam looks disheartened and leaves. HOGARTH: We should go. We'll be late for our reservation. WENDY: And whose fault is that? CUT TO: JESSICA'S APARTMENT Jessica paces and sits down. She calls someone and lets it ring once before hanging up. She gets in the elevator. Malcolm gets in just as the door is about to close. MALCOLM: You look bad. JESSICA: I need money. MALCOLM: You can have my TV. JESSICA: Thanks, Malcolm. You keep it. MALCOLM: I stole it. JESSICA: I figured. CUT TO: TRISH'S APARTMENT Trish is talking with two of her a**istants. TRISH: Can we at least try to get Madeleine Albright? ASSISTANT: It's a lifestyle show, Trish. Our audiences tune out for politics. TRISH: They do not. ASSISTANT: Okay, I do. TRISH: I want to meet Madeleine Albright. ASSISTANT: I want to meet Channing Tatum, but I've never tried to book him on the show. TRISH: Yes, you have. He said no. Trish looks up and notices Jessica climbing over her balcony. TRISH: Oh, I'm sorry, Zack, it's late and - ZACK: Yeah. Yeah, we'll pick this up at the station tomorrow. TRISH: Thank you. ZACK: Come on. The other a**istant gathers her things. TRISH: Thanks, Zack. ZACK: Yeah. TRISH: Bye, guys. After Trish is sure they've left, she goes out to meet Jessica on her balcony. TRISH: You could've used the door. JESSICA: I wasn't sure you'd answer. It's important. TRISH: It must be. JESSICA: It's for a case. TRISH: Right. You became a... private eye. JESSICA: You've been keeping tabs on me? TRISH: Making sure you weren't dead, since you never called. JESSICA: I need money. TRISH: Wow. Uh I don't even know what to say. JESSICA: It's important. TRISH: You said. But I don't hear from you for months, six months, actually. JESSICA: I needed breathing room. TRISH: You shut me out. And now you show up here asking for money? JESSICA: This was a bad idea. TRISH: No, you talk to me. You tell me what the hell is so important. JESSICA: He's back. TRISH: It's been a year, Jess. You saw him die. You saw his d**h certificate. This is just your PTSD - JESSICA: It's not my goddamn PTSD! TRISH: Are you still having nightmares? Flashbacks? ( She sighs). You need to go back to that therapist. JESSICA: That quack that had me reciting street names from back home? TRISH: A proven method for managing PTSD. JESSICA: Two hundred bucks for, "Birch Street, Cobalt Lane, Bullsh** Drive!" TRISH: I told you I'd pay for it. JESSICA: Jesus Christ, Trish! He's back. He sent clients to me, this couple from Omaha. He took their daughter. TRISH: Why her? Is she gifted? JESSICA: A gifted athlete, maybe. Next best thing? I don't know. But remember I told you he had that one month anniversary night? And now one month from the day he took Hope, he's doing the lingerie, the gift, the restaurant. TRISH: The hotel? I'm calling the police. JESSICA: They can't help, Trish. You know what he can do. You know what he made me do. TRISH: So you're running. JESSICA: Yeah, I sure as hell am. If he gets a hold of me again... Trish - TRISH: If you leave that girl with him - JESSICA: What would you have me do? What exactly should I do? TRISH: We'll figure out a way to protect you. JESSICA: We? He's coming for me, not you. TRISH: I know. JESSICA: You don't. TRISH: I know one thing, you are far better equipped to deal with that animal than some innocent girl from Omaha. You're still the person who tried to do something. JESSICA: Tried and failed. That's what started this. I was never the hero that you wanted me to be. TRISH: I'll get your money. Cut to Jessica in a taxi. As it keeps driving, she imagines Hope's parents talking to her. BOB: Where is our daughter? What's going on? Please. BARBARA: Please, please just tell me where my baby is. JESSICA: (To the cab driver). I need to make a stop uptown. 59th and Fifth. The cab drives up to a hotel and drops her off. The usher outside addresses her. MAN: Miss Jones? I thought that was you. Welcome back. Will you be staying with us again? Cut to Jessica in a hallway in the hotel. She looks at the door at the end of the hall and pulls the fire alarm. Lots of people leave their rooms. Jessica begins to walk down the hall, and has flashbacks along the way. She breaks into the room at the end of the hall. It's very dark in the first room. As she enters the second room, she imagines Kilgrave coming at her from the side. KILGRAVE: You missed me. Jessica gasps. She enters the last room. Hope is awake on the bed. JESSICA: Is he here? Is Kilgrave here? HOPE: No. JESSICA: How long, when did he leave? HOPE: Five hours and 21 minutes. JESSICA: We have to get you out of here. Let's go. Get dressed. HOPE: I can't. Jessica picks up her phone and calls Hope's parents. BOB: Miss Jones? Mr. Shlottman, I found Hope. HOPE: Is that my dad? JESSICA: You have to get her as far away as you can. Check out of your hotel, and go directly to my office. BOB: I don't understand. BARBARA: Please, God, what, what is happening? JESSICA: Just do it! We'll meet you there. (She hangs up). Come on, let's go! HOPE: I can't. JESSICA: He told you not to move. HOPE: I wet the bed. Jessica grabs a jacket and approaches Hope. JESSICA: Come on. Let's go. Come on. HOPE: No, I can't! JESSICA: Come on, come on. HOPE: No, no, no! JESSICA: Come on. HOPE: No! No! No! I can't leave. JESSICA: I don't want to hurt you. HOPE: I can't leave. I can't! Let go of me! I can't leave! JESSICA: Yes, you can. HOPE: I can't leave! JESSICA: Come on. HOPE: I can't! I can't Hope struggles out of Jessica's grip and makes it back to the bed. Jessica picks her up and carries her. Hope screams and struggles as they go, knocking things over and tearing at the walls. HOPE: No! No! Put me down! No! No, I can't leave! I can't, I can't! No! Let me go! No! I can't - Jessica knocks Hope out. CUT TO: JESSICA'S APARTMENT JESSICA: His control, whatever it is, it wears off. But it takes time and distance, so we're both getting out of here. HOPE: He made me do things that I didn't want to do, but I wanted to. JESSICA: What street did you live on as a kid? What was the name? Picture the sign. HOPE: Harrison. Harrison Street. JESSICA: And the next block over? HOPE: Florence. JESSICA: Listen to me. None of it is your fault. HOPE: You don't know. JESSICA: I know. Okay? I know. I want you to say it. "None of it is my fault." Say it back to me. HOPE: It's not my... It's... It's not my fault. JESSICA: Good. That was good. Hope's parents enter the apartment. BOB: My little girl! BARBARA: Oh, thank God. Thank God. HOPE: It's not my fault. BARBARA: I know, sweetheart. JESSICA: She'll be okay. You just have to keep her away from the man who took her. BOB: Took her? JESSICA: He escaped. And right now your only concern is putting Hope in a car and driving west, and don't stop until you hit Omaha. BARBARA: We're taking our baby home. Thank you. BARBARA: Thank you, Ms. Jones. JESSICA: It's fine. Hope embraces Jessica. HOPE: You saved my life. JESSICA: Go! I'm right behind you. The family leaves. Jessica grabs her things. She leaves the apartment, closing the door as she goes. She sees the family embracing in the elevator. As Hope looks at Jessica, her smile fades. She pulls out a gun as the elevator door closes. JESSICA: No! Bob and Barbara can be heard screaming as Hope shoots them. Jessica runs down the stairs to catch the elevator. She gets there in time to see the elevator door open. Out falls Bob's bloody corpse. In the elevator is Barbara's bloody corpse. Hope still stands in the elevator, pulling the trigger. The gun, out of bullets, just makes a clicking noise. She looks up at Jessica and smiles. HOPE: Smile. Hope snaps out of it and looks down at her dead parents. Realizing what she's done, she sinks down to the floor and drops the gun. HOPE: Mom! No! Help me! Jessica appears queasy and walks out of the apartment building. Other tenants approach the elevator. Jessica approaches a taxi, but doesn't get in. TAXI DRIVER: Where to? JESSICA: (Narrating). Knowing it's real means you gotta make a decision. One: Keep denying it. Or two: Do something about it. Jessica walks back into the apartment building as dramatic music plays. The scene fades out. END EPISODE