Wil Traval - AKA It's Called Whiskey lyrics

TITLE SEQUENCE CUT TO: JESSICA'S APARTMENT Beginning right where the last episode left off. Jessica pushes Luke into the wall, causing him to drop the saw. She rips his shirt off. He attempts to rip her shirt off, but she grabs his hands and pushes holds them at bay. She puts one of his hands behind his back and holds the other up. He lifts her up and they begin to have s** around the apartment, breaking various things, including a window, a wall, and a metal pipe. After a minute, Jessica notices Ruben watching through the door. JESSICA: Let me down. RUBEN: Um, Robyn says you're too loud. Jessica slams the door in his face. CUT TO: SIDEWALK Jessica and Luke sit outside eating at a hot dog cart. LUKE: It's nice to grub out with a girl who likes to eat. JESSICA: Well, we had quite a workout. I've never done it with someone else who has, you know... LUKE: Gifts? JESSICA: Yes, well you are very gifted. LUKE: Likewise. JESSICA: So just how unbreakable are you? LUKE: On a scale of, 'I don't know', to 'I'd rather not find out'? JESSICA: So, if I were to bite your finger, with all of my considerable strength... She leans over an playfully tries to bite his finger. He pulls back and smiles. LUKE: Depends on how considerable. So, don't go getting any ideas about my extremities. So what else you do? Can you... punch through a wall? Can you stop a moving car? JESSICA: A slow-moving car. LUKE: Can you fly? JESSICA: It's more like jumping, and then falling. LUKE: (Laughs). Okay. There's you, me, the big green dude and his crew. You think there's more of our kind out there? (Jessica doesn't answer). What? JESSICA: Nothing. (She gets up and goes to the hot dog stand). Can I have a coffee? MAN: You got it. LUKE: You know somebody else like us? JESSICA: No, not like us. LUKE: Well, you're the first I've met. Were you born this way? JESSICA: Nope. Accident. You? LUKE: Experiment. Does anyone else know about your abilities? JESSICA: A couple. I'm not hiding, but I'm not advertising. LUKE: People find out, they either come at you with a noose or their hands out. I got no use for either. JESSICA: So what, you just don't use it? LUKE: I protect myself and what's mine. But that's it. Being a hero just puts a target on your back. JESSICA: Yeah, been there, done that. LUKE: The hero gig? JESSICA: I gave it a shot once. LUKE: Tell me there was a costume and you still got it. JESSICA: It didn't work out. LUKE: You still get points for doing good. JESSICA: Not near enough to cancel out the bad. LUKE: The way I see it, most people got both going on. Just depends on which part wins that day. JESSICA: (Jessica smiles). More? LUKE: Nah, I'm full. JESSICA: I wasn't talking about the food. CUT TO: OUTSIDE THE BAR Jessica and Luke enter his apartment building. Cut to them having s**. Luke's bed frame breaks. Cut to Jessica entering the bathroom post-coitus. JESSICA: Don't suppose you have an extra toothbrush? LUKE: No. Jessica washes her face and hands. She opens Luke's medicine cabinet and sees the picture of Rita again. She has a flashback and sees Rita, who begins to fly backwards away from her. Luke closes the medicine cabinet, ending the flashback. LUKE: She died. Bus crash. JESSICA: I'm sorry. (After a moment). I gotta go. I got work. Cut to Jessica leaving the apartment building. She walks for a while. She enters a small shop, where the radio is on. RADIO HOST: Thanks for calling New York's number one talk radio. Next caller! CALLER 1: I mean, let's get real. Are we supposed to just let that Shlottman girl run around the city shooting anybody she wants? Give me a break. RADIO HOST: Westchester, you're on. CALLER 2: Ever since those guys quote, 'Saved the city', people have been making up stories about more super folk out there. Now some kid is pinning her murder on one? JESSICA: I'll take the bourbon. Cheapest one you got. CALLER 2: Have you ever heard a more made-up name than Kilgrave? I mean come on. Give me a break. RADIO HOST: Raises a good point. The clerk laughs. JESSICA: What, are you trying to drive customers away with that sh**? CLERK: You don't buy here, don't buy here. CALLER 2: ...run around the city, creating all this nonsense for the rest of us to deal with? Look, bottom line, the girl's a murderer. She needs to pay. CUT TO: JESSICA'S APARTMENT Jessica is on her labtop drinking bourbon. She plays a podcast. PODCAST HOST: It's not the first time we've seen a vicious k**er lay the blame for their actions on someone else. Remember, Son of Sam said he was taking orders from his neighbor's dog. We laughed at him, through our tears, and we should laugh at Hope Shlottman. Jessica looks up the d** Kurata told her about. PODCAST HOST: She claims to have been controlled by someone else. But she's just another weak and damaged person hiding behind the timeless excuse that 'the devil made me do it'. JESSICA: (Narrating). But what if the devil actually did make you do it? Even if you could prove it, would people ever forgive what you did? She prints out a list of New York Hospitals. She then pulls up an article about Hope, entitled, 'From Hurdles to Homicide'. CUT TO: HOGARTH'S OFFICE Jessica barges in. HOGARTH: Jessica, you can't just barge in here. JESSICA: Hope Shlottman is getting crucified in the media and you need to get out there and defend her. HOGARTH: Well, until I have irrefutable proof that she's not a lunatic, I will not get involved with the public debate. JESSICA: You would if you had any balls! HOGARTH: If you would like to display some courage, let's talk about your testimony. JESSICA: My testimony? HOGARTH: About you being another one of Kilgrave's victims. JESSICA: Hope. She told you. HOGARTH: Mhm. JESSICA: You like having something on me, don't you? HOGARTH: I like winning cases, and your story will help me. JESSICA: My story will put me in the same position as Hope. HOGARTH: Incarcerated? JESSICA: Kilgrave leaves a trail of broken people behind him. Get some of them to testify. HOGARTH: You get them, I will use them. JESSICA: I am busy trying to bring Kilgrave in. Change public perception and victims will come forward. HOGARTH: If I go public I undercut my credibility, which will hurt any argument I bring to trial. JESSICA: Oh, so you're a cheat and a coward. HOGARTH: Careful, Jessica, because I am the only other person who is trying to save Hope's life. JESSICA: Your compa**ion is overwhelming. Jessica leaves. Luke sends her a text and she reads it. 'Bought new bed.' She laughs, then begins to call Trish. JESSICA: I'm such an a**hole. (To Trish). Hey, are you busy? CUT TO: TRISH'S APARTMENT TRISH: Trish talk is a lifestyle show. JESSICA: Being in prison is a lifestyle. TRISH: I can't just go on the radio and say, 'Mind control is real'. JESSICA: But people trust you. TRISH: Yeah, that's because I back up my claims. JESSICA: You know it's true. TRISH: I'll think about it. And in the meantime you're hiding from Kilgrave, right? JESSICA: No. If he was coming after me he would have done it by now. I think with me, he's more into torture and long-term suffering. I'll catch you later. TRISH: I knew it. You said, 'Let's do lunch'. You hate that saying. JESSICA: Because it's stupid! You eat lunch. TRISH: It sounds better than, 'Let's do Jessica another favor.' JESSICA: Look, it's not that, all right? I just, I really need to get some d**. TRISH: Uh, graduating from alcoholism? JESSICA: They're for Kilgrave. Surgical anesthesia knocks out his powers. TRISH: Okay, that is huge. Trish pushes Jessica into her apartment. TRISH: How do we get some? I mean, it doesn't sound like something your average drug dealer would have. JESSICA: Sufentanil is only available in hospitals, so unless you know any morally compromised doctors... TRISH: All the doctors I know save small villages. JESSICA: Figured. I got it handled. TRISH: You mean you're gonna steal it. JESSICA: I prefer 'redistribute it'. TRISH: Come on, Jess, you're better than that. Trish takes off her jacket and shirt, revealing a number of bruises all over her upper body. JESSICA: Jesus Christ, Trish! TRISH: Oh, it's nothing. JESSICA: Who's doing that to you? Is your mom back? TRISH: Just calm down, will you? JESSICA: Okay, is this why you have the video surveillance and the steel reinforced door? TRISH: And bulletproof windows, a safe room. I made some upgrades. JESSICA: You... What you made is a fortress! Trish, what are you afraid of? TRISH: Not much, anymore. Except clowns. But that's just common sense. Trish opens her training room. Jessica follows her inside. JESSICA: You turned my room into a gym. TRISH: I needed a place to train. JESSICA: By training you mean getting beaten purple. Trish suddenly flips Jessica over and slams her on the floor. TRISH: No one touches me anymore unless I want them to. I let you fight my battles for too long. When you left - JESSICA: You became a ninja? TRISH: Krav Maga. More brutal. JESSICA: Well, can you back off? You're scaring me a little. TRISH: I'll make sandwiches. CUT TO: HOSPITAL Hogarth's wife Wendy walks through the hospital and into a waiting room, revealing Jessica. WENDY: What are you doing here? JESSICA: I need a doctor. A somewhat flexible doctor. WENDY: Uh-huh. Did Jeri send you? JESSICA: No. I want Sufentanil. Actually, I need it. Badly. And I'll do anything for you to get it. Anything. WENDY: Surgical anesthesia? Um, do I look like the kind of doctor who would feed an addict's drug habit? JESSICA: I hoped. Figured I would ask, maybe get lucky. WENDY: Get out. JESSICA: I know what's going on. One of New York's sharkiest lawyers is divorcing you. Do you think you're gonna get a penny out of Hogarth? You could use someone in your corner. Wendy closes the door. WENDY: You are making a lot of a**umptions. JESSICA: What a**umptions? That she's a lawyer? A shark? That she's divorcing you. WENDY: Storms blow over. JESSICA: Lot of wind, lot of rain. WENDY: Jeri's smarter than this. You don't throw away the life we built together. She'll see that, eventually. JESSICA: Maybe if you do me this favor, she'll be reminded of your good heart. WENDY: I have actual patients waiting for me. You need to go. JESSICA: Look, there is someone out there doing a lot of harm to a lot of people and as crazy as it sounds, Sufentanil is my only chance at stopping him. WENDY: (Writes something down). I don't have access to surgical anesthesia, so here is a prescription for an anti-psychotic. It's for you. JESSICA: (Scoffs). Just in case. CUT TO: HOSPITAL LATER THAT NIGHT Jessica wears a hoodie and sneaks through the hallway. She sees a security camera and heads for a vending machine. She sees a clerk at the desk, alone in the room. JESSICA: (Narrating) Knocking out one clerk to catch Kilgrave? Worth it. A doctor approaches. JESSICA: (Narrating) Knocking out two people? Still the right call. Another doctor comes around the corner. JESSICA: (Narrating) Three people? Jessica notices the doctor is pregnant. JESSICA: (Narrating) Or four, depending on when she's due? A security officer comes to the desk and stands behind it. Jessica looks away in disbelief and leaves. Cut to her on the sidewalk outside. Malcolm accidentally knocks someone off of their bike, and the man starts yelling at him. Jessica notices. BIKER: Hey! MALCOLM: I'm sorry man, I - The man runs over and grabs Malcolm. BIKER: Hey, Requiem for a Dream, watch where the hell you're going! MALCOLM: Look, I, I'm sorry. I didn't - I didn't see you. Malcolm tries to leave, but the biker grabs him. BIKER: No, no, no. Come back here. You know what? I'm on this bike every day because I care about the planet. And you're too busy self-medicating to even turn your moronic head! JESSICA: Hey! Jessica throws him away. JESSICA: We get it, you're a real gift to humanity. The man looks in awe at the fact that she threw him. JESSICA: ... Pilates. Get back to saving the planet. MALCOLM: You're a good person Jessica Jones. JESSICA: You're high. CUT TO: JESSICA'S APARTMENT Jessica is sleeping. Someone knocks on her door a few times before she finally wakes up. She opens it to reveal two workmen, a father and son. SON: This the door you want fixed? You called for an estimate? JESSICA: You're early. SON: We're three hours late. FATHER: (Speaking Portuguese). SON: Uh, this is a very broken door. JESSICA: Thank you for the diagnosis. What's it gonna cost me? FATHER: (Speaking Portuguese). SON: (Speaking Portuguese). The father hands her a piece of paper with something written on it. Jessica reads it in shock. JESSICA: You got the decimal in the wrong place. FATHER: (Speaking Portuguese). SON: My father says, 'This is our business, not a charity for women with broken doors.' JESSICA: Just fix the goddamn door, I'll cover it. SON: We start tomorrow. JESSICA: Well, be on time! Jessica answers her phone. JESSICA: Trish? TRISH: The interview is set for tomorrow. You wanna be here? JESSICA: You found a brainwashing expert? TRISH: Better, and I gotta say, Jeri is a force of nature. She is the one that made it happen. JESSICA: Jeri? Hogarth? TRISH: We're doing a live remote with Hope from the prison. JESSICA: No! TRISH: Jess, you asked me to defend her! JESSICA: Yeah, not to drag her out in public with her guts hanging out! TRISH: Hey, it's me. I'm on her side. I'll go easy. JESSICA: Trish, he'll be listening. He wouldn't miss it. TRISH: Probably not. JESSICA: He'll be listening to her and thinking about me. TRISH: He's already thinking about you. (To her a**istant). Thank you. (To Jessica). Hope wants to fight back and I want to help her. Okay? Jess, okay? Jessica has another flashback to Rita. She hangs up without saying anything. CUT TO: BAR Luke is cleaning the bar. Jessica walks in. LUKE: Hey. JESSICA: Hey. Sorry that I took off the other night. LUKE: Hard to know when to bring up a dead wife. JESSICA: Do you know any drug dealers? LUKE: I own a bar in Hell's Kitchen. What do you think? JESSICA: I need a drug. LUKE: Any drug? You're gonna have to be more specific than that. JESSICA: It's called Sufentanil, it's... used to knock people out for surgery. LUKE: Can't help you there. Is that really why you came here at this hour? JESSICA: Well I figured, NSA and all, you wouldn't want to talk about this over the phone. LUKE: I appreciate that. Cut to the two of them naked in bed. LUKE: Sweet Christmas. JESSICA: Yeah. I think. LUKE: Just say it woman. JESSICA: Say what? LUKE: Whatever it is you've not been saying since I met you. JESSICA: I haven't... not said anything. LUKE: Is it a racial thing? (She looks over shocked). I'm kidding. (After a moment.) Is it? JESSICA: Maybe it's about this thing that we have. These abilities. What if there was someone else out there. But his ability was to make people do whatever he wanted? LUKE: You mean like mind control? JESSICA: Or, exactly mind control. LUKE: Is this about your case the cops grilled me about? The girl who shot her folks in your building, claims some guy made her do it? JESSICA: Maybe she's telling the truth. LUKE: Maybe she's nuts. You go into a bar any night of the week, you'll find some crazies arguing with the voices in their heads. JESSICA: What if I believed her? Would that change your mind? LUKE: I'd believe that you believed it. JESSICA: Says the man with unbreakable skin. LUKE: You can see my skin. You can touch it. But you got no idea what my mind is thinking. JESSICA: I think I do. LUKE: Okay, then. I got no idea what you're thinking. JESSICA: I think you do. They start making out. CUT TO: PRISON Hope and Hogarth are on the phone with Trish, on her talk show. HOPE: It was my mother's birthday. He made me call her because she'd have known something was wrong if I didn't. And I wanted to tell her that I was in trouble, and that he was holding me prisoner. And making me do things that I've never done, that I never would do. Cut to Trish's studio. Jess is in the room with her. HOPE: I wanted to tell her and my dad to come and get me. TRISH: But you didn't. HOPE: The words were in my head, but way in the back, like this tiny echo. TRISH: What was happening? Can you describe it? HOPE: All I could feel was this need. He said, 'Wish her a happy birthday,' and that was suddenly the only thing that I wanted to say. That was the last time I spoke to her before he and my dad came to find me, to rescue me. TRISH: And the whole time you were with Kilgrave, you were aware you were being controlled. HOPE: Not at first, but then I'd get these glimpses of myself. And I'd try to hold onto them, but... I wasn't strong enough. But when he told me to do that to my parents... I fought so hard. But I couldn't... TRISH: Hope, did you love your parents? HOPE: Yes, so much! TRISH: Did you want to shoot them? HOPE: No! TRISH: Then why did you do it? HOPE: Because Kilgrave wanted me to. Because he made me. Hogarth stands up and takes the phone. HOGARTH: As you can see, Trish, my client's delusion is quite fully formed. TRISH: Wait, you're dismissing the possibility that Hope is telling the truth? HOGARTH: That she was telepathically compelled to k** her own parents? It's unprecedented to say the least. TRISH: As was the city being attacked by aliens, but it happened. Buildings were destroyed, people were k**ed. Perhaps what happened to Hope has happened before. HOGARTH: Well, certainly, if there are other people who feel they have been controlled by this Kilgrave character, they are more than welcome to contact my office, but it is more likely that my client experienced a psychotic break. TRISH: Hope has no history of mental illness, has shown no evidence since - HOGARTH: Trish, sounds like you believe that Kilgrave is real. TRISH: I believe it's naive to a**ume he isn't. So yes, I think he's out there. This sick, perverted man - Jessica gets up to protest. JESSICA: No, Trish! Trish, shut up! TRISH: - he is preying on the hopeless so he can feel powerful, probably terrified of his own weakness, which suggest impotence - JESSICA: You need to cut her mic right now. ASSISTANT: We're in the middle of a broadcast. JESSICA: Cut it! TRISH: - probably suggests some serious Oedipal issues, and - Jessica barges in and breaks Trish's mic. TRISH: What the hell are you doing? JESSICA: Trish, he's listening, hearing you! TRISH: He'll hear the truth. JESSICA: He doesn't want the truth! ASSISTANT: We've got a few calls coming in. Let's start with Susan in Vinegar Hill. SUSAN: Hey, Trish. Thanks - Jessica smashes the speaker. JESSICA: Trish. You're gonna piss him off, Trish. TRISH: Good. JESSICA: No, not good. TRISH: So he gets to un around, destroying lives, destroying your life, and I have to just sit here and shut up? JESSICA: Yes! Until I neutralize him. ASSISTANT: Next caller. KILGRAVE: First time caller, long time listener. Trish, I want to applaud your courage. You've always been a hero to the downtrodden. Self-preservation be damned. It's admirable. But my question is, if there really is a man with the abilities you've described, someone who could make anyone, anywhere, do whatever he wanted them to do, seems to me that insulting him would be wildly dangerous. Or, let's just say it, stupid in the extreme. Everyone has feelings, even, um, how did you put it? Sadistic, corrosive men? HOPE: No! Hope starts freaking out and screaming. HOPE: No! KILGRAVE: Are you worried he might, I don't know, make you k** yourself? Or worse? I'll take my answer off the air. CUT TO: LOBBY OF A BUILDING Jessica and Trish are walking together. TRISH: I had to defend Hope. Hogarth was throwing her under a bus. JESSICA: Hogarth set you up to defend the crazy-a** notion of mind control. TRISH: ... So she wouldn't have to. God, that is so smart. And evil, of course. JESSICA: You insulted him, Trish. You put yourself in Kilgrave's crosshairs. He could be sending some poor a**hole to k** you right now. It's a good thing you built a fortress. Behind the pair, a man with a backpack quickly approaches them. JESSICA: Just stay close to me. The man grabs Trish. MAN: Patsy Walker? Trish beats the man to the floor. JESSICA: Oh, my God. TRISH: He grabbed me! JESSICA: Oh, sh**. On the floor, a number of Trish's memorabilia has spilt out of the man's backpack. TRISH: He's a fan? MAN: Autograph? TRISH: You're a fan! Oh, I'm, oh my God, I'm so so sorry! MAN: I miss your red hair... TRISH: Sorry, I... JESSICA: Okay, come on, we have to go. Come on, we have to go. TRISH: I gotta go, I'm sorry! The two leave the building. TRISH: Wow, Jess, I think I really hurt that guy. CUT TO: TRISH'S APARTMENT TRISH: I hate feeling this way. I don't know how you handle it. JESSICA: It's called whiskey. Here, I put an app on this. It tells me where you are. Keep it on you, don't leave. Set your alarm. TRISH: Where are you going? JESSICA: To get some goddamn d**. CUT TO: JESSICA'S APARTMENT Jessica comes out of the elevator on her phone. JESSICA: Check again! It's Dr. Kurata. David Kurata with a 'K', yeah. He, he teaches in the biology department. Or chemistry, I dunno. Is bio-chemistry a thing? I don't know which one, it's science! Just check them all, it's important. Yeah, I'll hold. She arrives at her door, and realizes it's fixed. Her key doesn't work. She notices a piece of paper on the floor and picks it up. It says, 'Pay us, We give you key'. JESSICA: sh**. She crumples up the paper and breaks the lock, heading inside. JESSICA: Wait, when did he quit? Did he leave a forwarding address? (She begins writing). 2112, Parliament Street. New Delhi. India? I guess when the man runs, he runs. The elevator dings. Ruben carries a not-fully-conscious Malcolm out. RUBEN: Okay, right foot, then left foot. You have to use your knees. That's it. Oh, hey, Jessica. He's heavier than he looks. And he keeps listing to the right. He came into our apartment by mistake. Guess I forgot to lock the door after I took out the trash. MALCOLM: The elevator went too high. JESSICA: You're too high. MALCOLM: Am I bleeding? JESSICA: You're fine. RUBEN: Robyn was asleep. I was in the other room with my beetle collection and I heard the door, and then there he was. Eating our peanut bu*ter. Robyn was so scared. She thought he was a rapist or something, till I turned the light on. JESSICA: It's broad daylight. RUBEN: We have foil over the windows. JESSICA: Why? No, I don't want to know. She unlocks Malcolm's apartment. MALCOLM: She hit me with a little man. RUBEN: It was a trophy. MALCOLM: Of a little man. RUBEN: It was a little woman, actually. Bowling trophy. She bowls like a dream. MALCOLM: Am I bleeding now? JESSICA: No, you're still fine. RUBEN: I mean, I guess he is kinda scary, if you just wake up and you don't know him and maybe you're a bit racist. JESSICA: Go. Lie down. Keys. Jessica tosses Malcolm his keys, and closes his door. RUBEN: They say everyone is a little. JESSICA: Everyone's a little what? RUBEN: Everyone's a little racist. Like, if you see someone like Malcolm, you make a snap judgement, you know? It's something to overcome. A look of realization spreads on Jessica's face. CUT TO: HOSPITAL Jessica is supporting Malcolm as they walk through the hospital. MALCOLM: This hospital smells. But why are we in a hospital. I mean... I mean, I feel... I feel pretty all right. You know? I feel... Look, I appreciate the concern, I do. It's all so... It's nice. I don't really need to be - JESSICA: Sorry about this. MALCOLM: What? Jessica pushes Malcolm into a nurse with a cart. They both go tumbling to the ground, as does the cart and all its contents. JESSICA: Oh my God, somebody help! Somebody help! WOMAN: What happened? JESSICA: He just lunged at her! While everyone is distracted, Jessica sneaks into a supply room and takes some Sufentanil. She sees Malcolm on the way out, who won't make eye contact with her. CUT TO: TRISH'S APARTMENT The doorbell rings. There's a cop outside. She addresses him through a PA system. TRISH: Yes? SIMPSON: I'm looking for Patricia Walker. TRISH: This is she. How can I help you? SIMPSON: I need to ask you some questions about an alleged a**ault that happened outside station WNEX. TRISH: Ask away, officer... SIMPSON: Simpson. Uh, ma'am, can you open the door? You know, I'd prefer to talk with you in person. TRISH: I'm sorry, uh, can I see some identification, please? SIMPSON: Mhm. Simpson presents his ID. TRISH: That's you, all right. SIMPSON: You know, the guy that was a**aulted ended up in the hospital. He says that you attacked him. TRISH: Maybe I should call my lawyer first. SIMPSON: Ma'am, I know who you are. And you should know that if I have to come back here with an arrest warrant, then the chances are this whole business ends up on the news. Which I'm sure that you're used to, but it wouldn't be my first choice. (After no response). Suit yourself. TRISH: Hold on. Trish gets a baton stick at the ready as she prepares to open the door. TRISH: I'm sorry, officer - Simpson slams the door open with all of his strength. Trish gets thrown back. He pulls out his gun, but Trish hits it out of his hands with her stick. They continue to exchange blows, cracking a picture frame. Simpson throws her down. TRISH: You don't want to do this. SIMPSON: Yes, I do. TRISH: No! He begins choking her on the ground. She tries to push him back. He lifts her up and slams her on the ground. He begins choking her again. TRISH: No! No! After a few moments, Jessica lunges at him from the side. JESSICA: Get off her! He goes flying. JESSICA: Trish, talk to me. It'll be all right. SIMPSON: I have to k** her! JESSICA: Not gonna happen. SIMPSON: I have to. Jessica body slams him. SIMPSON: He's waiting for me. JESSICA: Where? SIMPSON: I can't tell you. He starts choking Trish again. Jessica sends him flying into the other room. JESSICA: Trish. Trish. Jessica reaches into her pocket. After a moment, Simpson gets up. JESSICA: Trish! You k**ed her! Trish! Simpson walks over and sees that she's dead. JESSICA: Trish. Trish. Simpson leaves, picking up his gun as he goes. Jessica looks up to make sure he's gone, then reveals she injected Trish with the Sufentanil. JESSICA: Okay, you're gonna feel better in a few hours. I'm sorry. Jessica takes Trish's phone and runs out after Simpson. JESSICA: You son of a b**h! You son of a b**h. She slips the phone into one of his pockets. He pulls out his gun. SIMPSON: I don't wanna shoot you. He said it's not your time. Jessica pulls out her own phone and listens to Simpson through Trish's phone. SIMPSON: Fifteen Sergeant Two. 1098 Central. CUT TO: SIDEWALK Jessica is covertly following Simpson outside. DISPATCHER: Fifteen Sergeant Two, what's your status? SIMPSON: En route to the Fifteenth central. ETA 30 minutes. Just finishing up a call. DISPATCHER: Ten-four. Ten-two and see the desk officer when you can, holding several jobs. Jessica continues to follow him for a number of blocks. Eventually he enters a nice building. Jessica enters a few moments after him and runs up the stairs. WOMAN: He's waiting for you. SIMPSON: Trish Walker is dead. KILGRAVE: Is Jessica aware of Patsy's d**h? SIMPSON: She saw everything. KILGRAVE: Was she upset? SIMPSON: Very. KILGRAVE: Well! Lot of people will be. Patsy was such an icon. Jessica finds her way to the roof. Looking down through some gla**, she sees Kilgrave and Simpson talking. KILGRAVE: Personally I always thought her television show was sh**e. Honestly, Patsy was a grating teenage do-gooder. So sanctimonious. Why Jessica was so attached to her, I'll never understand. WOMAN: Here's your lunch, sir. KILGRAVE: (Watching soccer on TV). Don't just kick it all the time, you ginger twat! (To Simpson). Oh, you're done here. Leave. JESSICA: I see you a**hole. She takes out the Sufentanil. KILGRAVE: Not that way, officer. That way. Kilgrave gestures towards the balcony. JESSICA: No, no, no! KILGRAVE: What? That was a spear tackle! He should have a red for that! Simpson approaches the edge of the roof, preparing to jump off. Jessica pulls him down and looks inside, making eye contact with Kilgrave. He stands up, shocked. Jessica has a flashback to the night of the bus crash. KILGRAVE: Jessica! Take care of her. Jessica punches Rita, sending her flying. Jessica goes to examine the body. KILGRAVE: Leave her be, let's go. Jessica ignores him, examining the body. She checks Rita's pulse to confirm she is dead. Jessica gets up and walks away. KILGRAVE: Get back here, Jessica. Jessica looks back, but continues to ignore him. The bus honks. KILGRAVE: Now, Jessica! The bus crashes into Kilgrave. The flashback ends. Simpson gets back up. Kilgrave gestures towards him. Jessica turns around. JESSICA: sh**. She pulls Simpson back off of the side. She knocks his head against the wall, knocking him out. Looking back inside, Kilgrave is gone. Jessica breaks in and looks for him. A man attacks her with a baseball bat. MAN: You can't follow him. JESSICA: Look, I don't want to hurt you. That prick is making you do this. Jessica throws his bat away and puts him in a choke-hold, knocking him out. JESSICA: Go to sleep. Go to sleep. On the next floor, she hears something in a nearby hallway. A man sneaks up on her with a knife. JESSICA: I know the drill. I'm not gonna follow him. I just want to know where he is. I'm not the enemy! He doesn't respond. She kicks him against the wall, knocking him out. She enters the next room, where a woman attacks her from the side. WOMAN: You can't follow him! JESSICA: I'm sorry about this. Jessica throws the woman into a wall, knocking her out. JESSICA: God, I hope this is only a three-person family. Jessica hears a strange noise and investigates. She finds a room filled with hundreds of pictures of her. A printer is constantly printing out more. Jessica looks around in horror. After a few moments, the picture stops printing. She picks one of the pictures up. Kilgrave has written, 'SEE You LATER' on it. CUT TO: SIDEWALK Jessica tosses Simpson into a pile of trash. He wakes up. JESSICA: Hey, you're alive. Get off me. SIMPSON: What happened? Why did I... JESSICA: You jumped off the roof. I caught you, okay? You did what he said. It's over. SIMPSON: I did? I remember I was about to leap off, and then you... You caught me? JESSICA: I fell with you. SIMPSON: You grabbed me? JESSICA: We both survived. That's all that matters. She pulls out some of the pictures from the room. JESSICA: Hey, did you take these? SIMPSON: No. JESSICA: Did Kilgrave? Did that family up there? SIMPSON: I don't know. JESSICA: sh**. Go home. Bandage yourself up. Forget this ever happened. SIMPSON: No. No, no, no. Just tell me what the hell happened. Okay, why did I try to k** myself? Or why did I try and k**... Oh, my God. I k**ed... JESSICA: No. No, you didn't. SIMPSON: I k**ed her. JESSICA: You're confused. No one died, nothing happened. Okay? Just go home. Jessica and Simpson go their separate ways. CUT TO: LUKE'S APARTMENT Jessica approaches Luke's apartment. She knocks on the door. He opens it and comes out. Her face is bloodied. LUKE: Rough night? JESSICA: I did something. LUKE: Looks like it. JESSICA: I can't come in. Ever. This isn't right. LUKE: Feels right to me. JESSICA: I have business. Unfinished. And you've been... Through too much for me to... LUKE: Can't handle a dead wife, huh? Do what you gotta do. He closes the door. Jessica leaves. She walks out onto the street outside. She looks around, and then notices something. She takes out one of the pictures, and realizes she's standing at the angle it was taken at. END EPISODE