Susie Abromeit - AKA 99 Friends lyrics

TITLE SEQUENCE CUT TO: STAIRS LEADING TO SUBWAY A number of people leave the subway. JESSICA: (Narrating) All it takes is one word, one suggestion, and they're no longer in control. All they know is a singular, intense need to follow me. Jessica examines a photograph, taken of her from the top of the stairs. JESSICA: (Narrating) To photograph me. To not get caught. Cut to a busy intersection. Jessica holds another photograph. She looks around, figuring out where it was taken from. JESSICA: (Narrating) Kilgrave's spy has no distractions, just an acute focus on me. Fortunately, not Luke. No photos of him. He should be safe. Jessica's cellphone vibrates. She looks at her phone. JESSICA: sh**. CUT TO: JESSICA'S APARTMENT Jessica exits the elevator. Malcolm is trying to get into his apartment. A woman is outside Jessica's. The woman turns around. AUDREY: Jessica Jones? JESSICA: Yeah? AUDREY: Audrey Eastman. I know I'm early. I just want to get this over with. JESSICA: You mentioned your divorce lawyer referred you. I'd love to thank him. What was his name? AUDREY: Desmond Tobey. He's at Hogarth, Chao, & Benowitz. I hope you're as good as he says you are. JESSICA: I am. AUDREY: So is that sign just for show, or do you actually have an office? Jessica takes out her keys. Behind her, Malcolm drops his. AUDREY: That man has been trying to get into his apartment for, like, five minutes. Nice building. Audrey walks into Jessica's apartment. Jessica walks over to Malcolm. JESSICA: Hey. You good? MALCOLM: You care? Jessica unlocks his apartment for him. JESSICA: Just don't wanna be another reason for you to get high. MALCOLM: Don't need a reason. Cut back to Jessica's apartment. Jessica sits at her desk, Audrey stands across from her. AUDREY: Carlo thinks I'm an idiot. But I can smell it on him every time he sneaks into bed at 3:00 in the morning. Wouldn't be his first affair, either. Some people can't keep their lives in check. They just go along blindly ruining the lives of everyone in their path. I'm sick of pretending it doesn't matter. How long have you been in business? JESSICA: Why do you ask? AUDREY: I want to know that if I write you a check, you'll stick around long enough to earn it. JESSICA: I'll earn it. AUDREY: Sorry... It's Carlo. I thought I'd gotten used to his lies and his wandering penis. My lawyer says that I need pictures for the divorce, of Carlo and his... JESSICA: Mistress. AUDREY: Skank! Nothing plays like pictures in court. He'll ask for alimony. I'm not giving him sh**! I need you to catch him in flagrante. You know, in the act - JESSICA: I know what in flagrante means. AUDREY: Carlo says he's meeting a client Friday night. Of course, when I asked his a**istant, she knew nothing about it. Follow him after work, I guarantee he will go straight form the office to her. JESSICA: The kind of pictures you're asking for, they're hard to look at. They're harder to forget. AUDREY: That's what I pay my shrink for. JESSICA: Circle of life. AUDREY: Look, I... I don't care if you have to knock down his door to do it. I want you to get those pictures! In fact, I want him to know that he is being photographed. JESSICA: So that's it? Follow your husband and take s** pictures? AUDREY: Isn't that enough? JESSICA: And your divorce lawyer. Dexter... AUDREY: Desmond Tobey. JESSICA: Tobey, right. He referred you to me himself? AUDREY: Yes, I already told you that! JESSICA: And you haven't had any conversations with a British man? Dark hair, well dressed? AUDREY: What? JESSICA: Standard contract. I require a 50% deposit up front. Audrey stands for a moment, then goes over to her purse. Jessica's phone vibrates. JESSICA: Hey. TRISH: He's back. JESSICA: Trish, what's going on? TRISH: He knows I'm alive. Outside of Trish's apartment is Simpson and another officer. TRISH: Kilgrave sent that, that cop back to k** me. There's two of them, and they're right outside. JESSICA: Go to your safe room. I'm on my way. TRISH: Okay. Trish runs to her safe room. Cut to outside her apartment. Simpson is trying to try to knock down the door, while some of Trish's neighbors look on. The other officer comes out of the elevator. OFFICER: Hey, Sarge, the doorman doesn't have the key. He said it's some kind of reinforced security door. SIMPSON: Get the ram. Cut to Trish's balcony. Jessica climbs over the side. Trish runs out of her safe room to let Jessica in. TRISH: They're still here. Jessica and Trish walk over to her front door. Outside, Simpson is trying to break the door down with a battering ram. OFFICER: Everybody clear the hall, please. You sure there's a body in there? SIMPSON: I'm sure. JESSICA: Kilgrave didn't send him back. TRISH: Then why is he trying to break down my door? JESSICA: He thinks he k**ed you. I recognize that look. Simpson continues to hit the door. Jessica opens it. SIMPSON: It's you. OFFICER: Um, sarge, that's not Trish Walker. SIMPSON: No, no, this is the one who - JESSICA: Sorry, we had our headphones in. I'm helping Trish make a party mix. Everything okay? SIMPSON: You're with Ms. Walker? TRISH: Yes, she's with me. This is my apartment. OFFICER: Are you all right ma'am? TRISH: I'm fine. OFFICER: Any violent incidents we should know about? Anybody try to hurt you? TRISH: I think I would know if I'd been attacked. OFFICER: We're real sorry for the disturbance, Ms. Walker. Uh, by the way, really big fan of your show back in the day. (Singing) It's Patsy! I really wanna be your friend - TRISH: That's sweet, thanks for watching. OFFICER: We gotta go Sarge. SIMPSON: Oh, uh, wait, I... I don't understand. No, no, no. OFFICER: Hey, Sergeant, take it easy. SIMPSON: You gotta tell me what's going on. Tell me what's happening. OFFICER: Hey, come on man, leave the lady alone. JESSICA: It's fine, he can stay. The other officer leaves. Trish looks worried. SIMPSON: I mean, how can you be standing here? How can you be alright? Trish removes her scarf to reveal bruises on her neck. TRISH: I am not alright! JESSICA: Trish, come on. SIMPSON: I'm... I'm a goddamn monster. Simpson begins to leave. Jessica closes the door and follows him. Trish listens to their conversation from inside her apartment. JESSICA: She knows it wasn't you. She's just being dramatic. TRISH: Dramatic? JESSICA: Come on. You could use some air. Jessica leads him to the elevator. CUT TO: OUTSIDE Jessica and Simpson walk around a park. JESSICA: She's alive. You've seen it. The best thing you can do for her is stay away. SIMPSON: No, I felt her dying in my hands. She was dead. Jessica pulls out the Sufentanil. JESSICA: Sufentanil. It knocks people out. This is what made you think that you k**ed Trish. SIMPSON: You know, I've spent my whole life protecting people. JESSICA: You're still you. You just need time to - SIMPSON: I did things in the line of duty, horrible things, but I have never wanted to k** an innocent woman. JESSICA: Do you want to k** her now? SIMPSON: No, God, no! JESSICA: No, because you never did. Kilgrave wanted it. SIMPSON Kilgrave? JESSICA: And he made you do it. SIMPSON: Well, how? JESSICA: It doesn't matter how. He told you to jump, you jumped. He's done with you. SIMPSON: Well, he also told me to k** Ms. Walker. Is he done with her, too? JESSICA: Look, just go home, go to sleep, and move on. SIMPSON: What happens when he finds out that she's still alive? JESSICA: I'll handle it. SIMPSON: He'll send somebody else, won't he? It won't end till we stop him! JESSICA: It will end when I stop it. You have no idea what's involved here. SIMPSON: Well, I know there's a guy who controls minds, and there's a woman who flew out of the sky to save my life. Jessica begins to leave. Simpson grabs her. SIMPSON: I may not have your abilities, but I've got eight years Special Ops and an entire police force to back me up. Jessica grabs his arm. JESSICA: No police. I will handle it. You're not gonna make her feel safe, Sergeant. Go home. I got her covered. I think I know a way to get her off Kilgrave's hit list. But it's gonna be painful. Jessica walks away. CUT TO: TRISH'S STUDIO Trish is about to go live. Jessica sits in the next room with Trish's a**istant. ASSISTANT: And we're live in three, two... TRISH: Hi, I'm Trish walker, and this is Trish Talk. During my last broadcast, I made some... Flippant and disrespectful comments about a certain individual. I was out of line by belittling this man, and ignorant of my own limitations in challenging him. He is a very fascinating and powerful man, deserving of respect, and to that end, if he's listening, and I think he is... I want to apologize. I hope he forgives me. Jessica nods. Cut to them walking on the sidewalk outside. TRISH: I need a shower. JESSICA: Saying the words doesn't make it true. Remember acting? It's how you won that award. TRISH: My mom blew half the jury to get me that award. It might not have been about my acting. JESSICA: Fine, but Kilgrave knows you're afraid of him, and that's all he cares about. TRISH: Men and power, it's seriously a disease. (Jessica stops walking.). I mean, superpowered man, but... Trish notices that Jessica has stopped walking and stops too. TRISH: Jess? Jessica is looking at a man with a camera pointed at her, who is taking photos. Jessica quickly walks towards him, only to realize he's taking pictures of someone else. TRISH: Jess? Jess, are you okay? JESSICA: Yeah, I just thought I... Saw someone I knew. TRISH: Yeah, no Teen Choice Award for you. Talk. JESSICA: Kilgrave's been surveilling me. Taking pictures. TRISH: Why? JESSICA: I don't know. So he can record me imploding as he tortures me? The spy could be anyone, or everyone. It's been going on for weeks. I had no idea. TRISH: Just breathe, okay? He isn't here now. JESSICA: Yeah, well, he's always here. Jessica points her her head, then turns and begins walking again. Trish follows her. CUT TO: JESSICA'S APARTMENT Jessica sits at her computer, deleting pictures of Luke. JESSICA: (Narrating) I don't need reminders of what I did to Luke. Even if I had good intentions. Mostly. CUT TO: HOGARTH'S OFFICE Hogarth sits at her desk, talking to someone on speaker phone. HOGARTH: Listen to me, Larry. You are never gonna win this one. LARRY: Oh, are you a legislator now? Are you gonna rewrite the patent law? HOGARTH: I'm not going to have to. Do you have any idea how much people love their pets? Your clients poisoned their pets, abusing manufacturing loopholes in China. You know who people hate more than litigators? Jessica bursts into the room, followed by Pam. HOGARTH: Puppy k**ers. LARRY: We can come in at half. PAM: She won't wait. She wouldn't listen. JESSICA: I couldn't hear you over that print. HOGARTH: Larry, let me call you back. Hogarth hangs up. Pam leaves. HOGARTH: That was a potential fifty-million-dollar settlement. Now I have to ramp him back up. JESSICA: Oops. I need to know if your firm represents Audrey Eastman. She says she's with Desmond Tobey. HOGARTH: Well, then you should be invading Tobey's office. JESSICA: I did. Are 'attorney-client privilege' the only words that he knows? He wouldn't even tell me if he referred her to me. HOGARTH: What's going on? You're on edge. JESSICA: The last people referred to me wound up dead in my elevator. If Audrey Eastman follows the same path, she won't be able to pay her legal bills. HOGARTH: She is a client, I'll confirm that. JESSICA: And do you trust him? Tobey? HOGARTH: He's a partner. JESSICA: That's not an answer. HOGARTH: He's handling my own divorce, so yes, I trust him. JESSICA: Okay, good, that's all I need to know. HOGARTH: You need to pull yourself together. You are coming across distinctly paranoid. JESSICA: Everyone keeps saying that. It's like a conspiracy. Jessica leaves. CUT TO: ALLEYWAY Jessica is crouched high up in an alleyway, stalking Audrey. Her phone vibrates. She answers it. JESSICA: I'm working. TRISH: What if the apology didn't work? JESSICA: Then I'll deal with it. Look, I'm with a client right now. Sort of. TRISH: How can you trust any client after what happened with Hope's parents. JESSICA: I don't. Which is why I've been following her since dawn. TRISH: Following who? JESSICA: A jealous wife. TRISH: Jess, come on, I need the distraction. JESSICA: Fine. A j**elry designer. Audrey Eastman. TRISH: Overpriced, chunky, enamel stuff? Well, if she is mind-controlled, that would explain some of her j**elry. JESSICA: It's not like she needs the money. Her parents died and left her a fortune, but all she does is work. TRISH: Cheating husband. She's compartmentalizing. JESSICA: Useful sk**. TRISH: How will you know if she's Kilgraved? JESSICA: His effect has limits. TRISH: Right. Time and distance. But you can't follow her forever. JESSICA: I've never seen his voodoo last longer than 10 hours, 12 tops. If he doesn't show soon, I'll... do the job and take pictures of the cheater with his pants around his ankles. Nothing plays like pictures. CUT TO: POLICE CAR Simpson sits in his police cruiser. His phone rings, and he answers it. SIMPSON: Yeah? JESSICA: You still wanna help catch Kilgrave? SIMPSON: Yes. JESSICA: It's a little illegal. SIMPSON: Answer's still yes. JESSICA: Can you get me a police surveillance video? SIMPSON: Who are you looking for? JESSICA: Myself. Kilgrave's got somebody tailing me, feeding him pictures. Police footage will show who's around me. SIMPSON: Yeah, well, we have cameras all over the city. You got times, dates, locations? JESSICA: Texting them to you now. SIMPSON: I got your six. They both hang up. Jessica scoffs. JESSICA: 'Got my six'. Jessica sees Audrey leaving and follows her. CUT TO: SIDEWALK OUTSIDE A RESTAURANT Hogarth and Pam are walking to a restaurant. PAM: It's an hour north of Rome. My sister said the views from the hotel are amazing. HOGARTH: Unbelievable. Two more walk-ins because of that goddamn radio interview. PAM: Can I have my Jeri back, please? I would love to have lunch without us bringing the office with us. HOGARTH: I'm sorry. I'm here. And I promise you, after this circus is over, I will take you anywhere you want to go. Okay? PAM: Okay. Inside, Wendy kisses a man and leaves. They meet outside. WENDY: Oh, come on. Don't tell me you're bringing her here. PAM: We have a reservation. HOGARTH: Wendy, you don't have exclusive rights to every restaurant we've ever been to. WENDY: Just the one where you proposed. PAM: You proposed to her here? Jesus, Jeri. WENDY: Did you forget? HOGARTH: I didn't forget proposing, no. WENDY: (To Pam) Well, that's worse for you than for me, because it means she's fine giving you leftover romance. PAM: Let's just go somewhere else. HOGARTH: No! WENDY: If she orders you the tiramisu and there is a diamond ring at the bottom, you'll think nothing could ever make you stop feeling happy. Don't choke on it. HOGARTH: You think, if you break us up, that I will crawl back to you? Read my face. Never gonna happen. Wendy walks away, tearing up. HOGARTH: She does not get this goddamn restaurant. PAM: Yeah, she does. Pam walks away. CUT TO: SIDEWALK IN ANOTHER PART OF THE CITY Jessica watches Audrey from behind a car. JESSICA: (Narrating) If Audrey Eastman is controlled by Kilgrave, it's going to wear off soon. He'll need to re-up. Audrey unlocks a shady, abandoned building, and goes inside. It looks to be an abandoned bar. She lays her things on the bar and turns on a speaker system. Loud rock music starts playing. She takes a gun out of her purse. Jessica jumps up onto a dumpster to get a better view inside of the building. She sees Audrey, with mufflers on, shooting. JESSICA: sh**. Jessica breaks the lock on the back door and sneaks in. Jessica gets the Sufentanil ready. Audrey has a number of female dummies set up to practice shooting. JESSICA: (Narrating) Thirteen hours and no Kilgrave, but... She's planning to use that on someone. Maybe the wandering penis? Jessica leaves as Audrey continues shooting. CUT TO: HOGARTH'S FIRM A number of people are in line at the lobby. PAM: Name, address, daytime phone, medical history, including any visits to a psychiatric facility. Next. Pam sees Jessica and gestures for her to go meet Hogarth. JESSICA: Your text said it was urgent. HOGARTH: It is. JESSICA: Yet there's no gun to your head. I don't like being summoned. HOGARTH: Quelle surprise. I have a job for you. JESSICA: Who are all these people? HOGARTH: They claim they were mind-controlled by Kilgrave. You should have seen the ones we turned away. JESSICA: Maybe some of them are legit. HOGARTH: Oh, please. The Trish Talk interview turned him into the most popular alibi in the city. JESSICA: You bought Dr. Kurata's kidney story, why not at least talk to them. HOGARTH: Because I don't have time for this right now. Because I have bigger problems, okay? Wendy has decided to make this divorce very difficult for me, and I need dirt on her. JESSICA: That's why you called me? I have a gun-toting client, a spy to find - HOGARTH: You owe me a favor. JESSICA: You were married to her. You already have dirt. HOGARTH: She didn't know mine. JESSICA: Well, you're sneaky. That doesn't mean she is. HOGARTH: I didn't say it would be easy. God. JESSICA: Fine. Later. Who's first? A number of heads in the room turn to look at Jessica. Cue a montage of Jessica and Hogarth filming interviews with potential victims of Kilgrave. JESSICA: Start at the beginning. MAN 1: I wen into 7-Eleven for a bag of doritos, you know? And then this Chinese dude comes in, and his eyes were all red and glowing, and I was like, 'Dude!' Hogarth rolls her eyes. MOTHER: My Lucy is a nice girl. A virgin. Tell them. Go ahead. A visibly pregnant teenager sits down. LUCY: Kilgrave made me do it. He's our gardener. Jessica listens incredulously. MAN 2: He landed on Jones Beach. I thought it was a meteor. But then, a man came out of the waves. Cut to a woman with bandages on her hands. WOMAN 1: He lived with me for two days. He made me play my cello for him, until I made a mistake. MAN 1: He didn't even talk, man! He just like, stared at me with his freaky glowing eyes. I was like, 'This dude is making me wanna jack this place.' I pulled out my gun... WOMAN 2: I couldn't stop smiling. He wouldn't let me. LUCY: He said, 'You want me bad'. And then I did want him. Bad. MOTHER: And not just Lucy. All the girls in the neighborhood. When he speaks, they spread their legs. Evil man. MAN 2: He gave me a purple staff, and made me slide it up my... Jessica's eyes widen. MAN 3: He had dreads. MAN 4: Bald. WOMAN 1: Dark hair. WOMAN 2: He wore a white dress shirt. WOMAN 1: Intense eyes. WOMAN 2: And a tie. MAN 1: A red T-shirt. I think. LUCY: He never wears a shirt. He's hot. MAN 5: I was waiting for the L train. And he said, uh, 'Nice jacket. You wanna give it to me, right?' And I said, 'Yeah'. And, like an a**hole, I handed it over. Now, I know it's not the same as k**ing my parents, but... It was Zegna. That limey co*ks**er owes me five grand. JESSICA: Limey? MAN 5: Yeah, he had an accent. He's British. JESSICA: Get up. MAN 5: I'm telling the truth! JESSICA: Get up. Jessica gets up and looks the man over. She imagines him as Kilgrave. JESSICA: Put him on the list. Cut to a conference room. Jessica addresses a group of people. JESSICA: Talk amongst yourselves. Exchange info. Thanks. Jessica leaves the room. HOGARTH: What was that about? JESSICA: We're starting a band. I told them to keep in touch. Talk. HOGARTH: You starting a support group? Will you be participating? JESSICA: Like I'd waste my time circle jerking with a bunch of whiners. Jessica begins walking away. HOGARTH: Yes, you are a paragon of mental health. Jessica comes back. JESSICA: I'm using them, Hogarth. I wanna know everything they did with him, everywhere they went, every word that was said, particularly about me, and what the hell he's gonna do next. HOGARTH: Kilgrave wanted a leather jacket, live cello music, and the flattering smile of a pretty girl. What a waste. He could solve so many problems with his gift. JESSICA: Gift? HOGARTH: I just meant if... If he was on our side. JESSICA: What side would that be? The side that uses people? Treats them like animals? HOGARTH: Jessica, do not take this out on me. JESSICA: Just to throw them away like they're garbage? The side that rips your life apart and destroys you from the inside out? Whose side exactly would that be? Jessica punches a nearby door, cracking the gla**. She leaves. CUT TO: STREET AT NIGHT Jessica walks outside. After a few moments, Simpson approaches her. SIMPSON: Hey! Hey, I got your movie. It's thirty hours. Cast of thousands. He hands her a tape. She walks into a nearby building. JESSICA: Thanks. I should've got some popcorn. He follows her into the building. SIMPSON: Listen, there's a lot to comb through, but your spy is in there somewhere. Simpson sees Malcolm hiding in a corner of the lobby. SIMPSON: Hey! What are you looking at, huh? What the hell are you looking at, huh? He lifts Malcolm up against the wall. JESSICA: Hey, get off him! SIMPSON: He's watching! JESSICA: Yeah, he's probably watching the ceiling melt. MALCOLM: He doesn't like me. JESSICA: Malcolm, go sleep it off. Malcolm walks away. JESSICA: Hey, I got enough to deal with without worrying about you going all search and destroy on me. SIMPSON: I know, I am... I know how to turn it off, I... The paranoia and the panic, I just - JESSICA: Listen, there's this... Group of people. They've all been through the same thing, so... If you wanna talk or something, they meet tomorrow night. Simpson gives her a weird look. JESSICA: Yeah, I'm not into it either. SIMPSON: I gotta go. Simpson quickly leaves. Cut to Jessica watching the tape he gave her. She tries matching up a picture with the video, but the position of the photographer is just out of view. JESSICA: Goddamn it. She pulls up a picture of Luke. JESSICA: (Narrating) Now I know how it feels, someone watching your every move. Seeing you in private moments. She stands up, counts some money, grabs the Sufentanil, and leaves. Cut to her walking on the sidewalk. A little girl walks up onto the sidewalk. GIRL: Jessica. Are you Jessica? JESSICA: Yeah. Where are your parents? GIRL: Patsy Walker is safe. JESSICA: What did you say? GIRL: You don't have to worry about her, for now. JESSICA: Who told you that? GIRL: The man. He said he liked her apology. JESSICA: How old are you? GIRL: Eight and a half. JESSICA: I'm sorry that this is happening to you. GIRL: You're a b**h! You could have stopped that bus! You left him there to die in the street, like a goddamn dog. JESSICA: Stop it. GIRL: You turn everything to sh**. JESSICA: Jesus. GIRL: It's Friday. JESSICA: What does that mean? GIRL: Don't you have a job to do? JESSICA: Are you talking about Audrey? Did Kilgrave send Audrey? Did he send Audrey? Was he at her target practice? Jessica grabs the little girl by the arm. The girl screams. GIRL: Mommy! Where's mommy? JESSICA: It's okay, I'm going to help you find your mom! WOMAN: Chanise! GIRL: Mommy! She won't let me go! JESSICA: Sorry! I'm sorry. WOMAN: Are you okay? Did she hurt you baby? JESSICA: She was lost, I was just trying to help. WOMAN: Stay away from her! CUT TO: TRISH'S APARTMENT The doorbell rings. Trish sees Simpson outside. TRISH: What are you doing here? SIMPSON: I'm sorry to show up like this. I just wanted to make this right. TRISH: You can't. SIMPSON: I got something for you. TRISH: I don't want anything from you. SIMPSON: Well, it might help. Please. Um... It's personal. TRISH: I can't let you in. Put it on the floor. He puts the box on the floor outside the door. TRISH: Now go to the end of the hall. Simpson walks to the end of the hall. Trish opens the door and quickly grabs the box, closing the door again. She opens it, revealing a gun. SIMPSON: Did you open it? TRISH: Yes. SIMPSON: I just want you to feel safe. TRISH: Is it legal? SIMPSON: No. You still there? On the other side of the door, Trish holds the gun to where Simpson's head is. CUT TO: SIDEWALK Jessica follows Carlo as he carries some flowers on the sidewalk. JESSICA: (Narrating) Audrey was right about her husband. Carlo's clearly not in a hurry to get home. Cases like this remind me of why I'm single. Eventually, Carlo reaches a building and enters. JESSICA: (Narrating). I could storm the gates and get the money shot... But not if Kilgrave got to Audrey somehow. Jessica jumps onto a balcony. Inside, she sees Carlo enter a room. JESSICA: sh**. She opens a window and sneaks in. She sees Carlo and a woman having s**. Jessica's phone begins to vibrate. She answers it. JESSICA: Hello? AUDREY: Hi, it's Audrey Eastman. JESSICA: Yeah, I know. AUDREY: Did you follow him? JESSICA: Wait, what? AUDREY: Where are you? Jessica? Hello? Jessica? Are you there? Jessica moves her phone away from her ear and realizes Audrey is in the room with Carlo. AUDREY: Jessica? Can you hear me? Where - where is Carlo? Jessica throws the doors open. JESSICA: He's three feet to your right, a**hole. Audrey stands up and trains her gun on Jessica. Carlo also stands up. AUDREY: Get her on the plastic. CARLO: How? AUDREY: I have a gun on her for Christ's sake Carlo. JESSICA: You shoot at me, I'll pull the bullet out of my ruined jacket and shove it up your a** with my pinky finger, and who do you think that's gonna hurt more? CARLO: You're bulletproof? Audrey shoots her in the arm. Jessica yelps. CARLO: Jesus! AUDREY: Nope, not bulletproof. CARLO: Audrey, this is insane. Honey, we don't have to do this. We can walk out of here right now. AUDREY: She doesn't have laser eyes either, or she would have used them. JESSICA: Laser eyes? Who said I had laser eyes? Oh, that dick with the Aston Martin. I served him a subpoena. AUDREY: Gregory Spheeris. I sell to his wife. They're very talky. JESSICA: Look, you're obviously pissed off about something, but I'm pretty sure, for the first time, this has nothing to do with Kilgrave. He's smarter than you two. AUDREY: Kilgrave? Who's Kilgrave? Is he another one of you people? How many more are there like you? JESSICA: How many more what, private eyes? AUDREY: Gifted. Stupid word. It's like calling someone special. They're not special, they're retarded. You're not gifted, you're a freak. JESSICA: What have we or the mentally challenged ever done to you? AUDREY: You saved the city. That's what the newspapers said. You were 'heroes'. JESSICA: Not me. AUDREY: The city was saved. But I was there. I saw what really happened. I saw my mother crushed to d**h under a building that you people destroyed. JESSICA: In the incident? AUDREY: I was trying to pull my mother out from the rubble, watching her bleed to d**h, while all around me you people were raining down hell. JESSICA: So go after the big green guy, or the flag waver! I wasn't even there! AUDREY: Consider it a preventative measure for next time! Jessica pulls a tarp out from under her, causing the gun to go flying. JESSICA: You think you're the only ones who've lost people? Carlo goes for the gun, but Jessica grabs it and throws it into a wall. She begins tearing the room apart. JESSICA: You think you're the only ones with pain? You think you can take your sh** and dump it on me? You don't get to do that! So you take your goddamn pain and you live with it, a**holes! You lost your parents? Welcome to the goddamn club! I lost mine in some random accident. Do you see me trying to k** every sh**ty driver? No! Because I don't work my sh** out on other people! So keep your goddamn feelings to yourselves! Ninety-nine. You wanted to know how many of us there are? The last time I counted, I had 99 gifted friends in this borough alone. And now every single one of them is gonna know about this sh** that you tried to pull. And they hate attempted murder. They really do. The cops hate it too, you know, because it's against the law. CARLO: Please don't k** us. We're gonna leave you alone. JESSICA: There's only one thing that you can do to save yourselves. AUDREY: What? JESSICA: Disappear. Nobody, especially me, ever hears from you again. Me and my friends will stop by tomorrow to make sure you heard me. Jessica leaves. CARLO: I want a divorce. CUT TO: JESSICA'S APARTMENT Jessica is taking a shower. She looks at where the bullet hit her, and watches blood go down the drain. Cut to her at her desk, looking at the files of people she interviewed. She watches a clip from one of the interviews, then closes her computer and leaves. CUT TO: TRISH'S APARTMENT Trish and Simpson sit on opposite sides of the door. TRISH: And this one guy stitched a silhouette of my hair in orange sequins. And this girl sent me a stuffed, uh... It kind of looked like a voodoo doll. SIMPSON: Of you? TRISH: Me or Carrot Top. It wasn't clear. SIMPSON: It's creepy. TRISH: Well, it seemed normal at the time. My mother had been marketing the Patsy dolls for years, so, uh... The whole thing's a little embarra**ing now. SIMPSON: I had G.I. Joes, till they all burned. TRISH: Burned? SIMPSON: They went into battle to save my sister's Barbie, and melted into one big clump. TRISH: That's terrible. SIMPSON: Hey, the accomplished their mission. TRISH: By dying? SIMPSON: They rescued Barbie. I mean, the Dream House was gutted, but she had insurance. TRISH: You used actual fire? You torched a Dream House? SIMPSON: I was committed to the scenario. They both laugh. SIMPSON: That was meant to be a story about how I've always been the guy saving people. TRISH: Albeit plastic people, and they melted. SIMPSON: Well, I just need you to know that. The guy who tried to k** you, it wasn't me. TRISH: I don't blame you. SIMPSON: Well, you're doing better than me. I tried to fight it. I couldn't. TRISH: Hey, listen. What Kilgrave did to you, he did to Jessica. It doesn't matter how strong you are. SIMPSON: Maybe not, but we can protect ourselves. Trish plays with the gun in her hands. SIMPSON: Trish? Trish opens the door. Simpson stands up. TRISH: I might shoot you by accident. SIMPSON: It's worth the risk. Simpson enters her apartment. CUT TO: SIDEWALK Jessica walks outside. She watches various people walk past her. She holds her arms out and spins around. CUT TO: TRISH'S APARTMENT Trish and Simpson sit and drink coffee. SIMPSON: You went back to work? TRISH: I had to. I needed things to feel normal again. SIMPSON: Yeah, so did I. TRISH: Ah, you're a New York City cop. I'm sure your normal is pretty crazy to begin with. As the camera pans down, we see that Trish is still holding the gun. SIMPSON: Unlike being an actress. TRISH: Completely sane profession. SIMPSON: Yeah. CUT TO: SIDEWALK Jessica is walking on the sidewalk. Her phone vibrates and she answers it. JESSICA: Hogarth. HOGARTH: I sent more potential victims to your survivor's group. JESSICA: It's not my survivor's group. HOGARTH: Maybe it should be. You need to process your trauma. JESSICA: I'm sorry, who is this? HOGARTH: Fine. You need to not take your crap out on my gla** walls. JESSICA: Put it on my tab. HOGARTH: When are you planning to pay that off? JESSICA: Not tonight, Hogarth. Not tonight. She hangs up on Hogarth and enters a restaurant where the survivor's group is meeting. Cut to Jessica listening in on the group. MAN: Avery was crying because I forgot to put his action figures in the car. He'd been fussy all morning, and in the car, he was just impossible. I lost my temper. Then we hit a red light just south of Herald Square, and Kilgrave just opened the door and got in. Said he liked my car, wanted to ride around. Avery was still crying, but Kilgrave never once looked at him. He just stared straight ahead and said, 'You'd like to leave your son, wouldn't you?' And I said yes. I pulled Avery out, put him on the curb, and drove away. I saw him in my rear-view mirror, just weeping on the sidewalk, and I hated myself because... it's what I wanted. I disappeared for a week while I was Kilgrave's chauffeur. Jessica looks up. MAN: I was charged with child abandonment. My wife left me, which, I don't blame her, because - JESSICA: You drove him for a week? 24/7? MAN: Yes, it was a nightmare. I was haunted by - JESSICA: Where did you drive him? WOMAN 1: I'm not sure that's the - JESSICA: Did he meet anyone in particular? Did anyone deliver pictures to him? MAN: Um, actually, yeah. JESSICA: Who? MAN: I don't know, I just had to drive Kilgrave to meet the same guy every day at 10:00 a.m. on the dot. He was very punctual. JESSICA: What did he look like? WOMAN 2: Is this some kind of reenactment therapy? JESSICA: Screw therapy. What did he look like, the guy he met? MAN: Well, I never got close, and it was freezing. Everyone's wrapped in tons of layers and hats. He wore a scarf. Blue and white stripes. Jessica leaves the restaurant. Cut to her back in her apartment. She looks through the security camera footage, trying to find someone like the man described. She eventually pauses the video, spotting the person. She realizes that it's Malcolm. She breaks into his apartment, revealing a printer with some photos of her. In his apartment, she sees a picture of him with his mom. She starts tearing up. END EPISODE