Friday, April 27, 2018

Black Rose

Here's a screenplay I can't believe I haven't posted.



Black Rose

written by
Marcy Green

EXT. FULL MOON OVER BOSTON - WINTER - NIGHT

INT. MR. GOLDSTEIN'S BEDROOM - CONTINUOUS

Silhouetted against moonlight, ISABELLE attends to a figure
which lies in bed. Sheer curtains in front of open patio
doors billow wildly. Isabelle bends close to the figure.

ISABELLE
Forgive me.

An elderly man, Robert Goldstein, fully dressed, eyes closed.

Isabelle caresses his face, kisses his forehead, regards him
with affection and stabbing regret. She kisses his mouth.

ISABELLE
Forgive me.

He does not stir.

The moon rules over a crisp night.

EXT. PATIO - CONTINUOUS

Isabelle stands on the patio. It's bare except for a dying
potted plant.

She is athletic and stands tall. She looks up at something:

THE MOON

Her dark eyes fill with wonder and reverence, like a child.

She leans over the railing - quite a drop to the street.

The wind gusts violently, tossing her full-length leather
coat and long black hair, but she seems immune to the cold.

She notices the plant. It's a pathetic twig.

MOMENTS LATER

She is now standing on a narrow ledge several feet from the
patio cradling the wilted potted plant. The wind gusts, but
Isabelle's stance is solid and relaxed.

She emerges from dark, serious thoughts and recalculates the
distance to the street. A long drop.

She inhales deeply, steps off the ledge, and FALLS OUT OF
FRAME.

INT. ELEVATOR

NICK PRIESTLY, not old but no longer young, stares, listless.
Although he possesses a keen mind, the world bores him. A
man with no future, little hope. He looks up at something:

SECURITY CAMERA

With no particular effort, he bears the intrusion, just
another trespass. Without thinking, he turns slightly away
from the camera and tightens his coat. He hunches against
some imagined cold.

SOUND OF ELEVATOR DOORS OPENING

An ELDERLY MAN in the corner staring at the elevator buttons.

NICK
Sir? Sir, is this your floor?

Nick touches the old man. The old man flinches.

ELDERLY MAN
(doesn't look at Nick)
I know! I know. Don't touch me!

The old man shuffles out, mumbling, his back stooped.

Nick regards him with compassion and pity, and straightens
his posture. The doors close. He fears growing old.

The doors open. Nick takes a deep breath and steels himself.

INT. LUXURY APARTMENT BUILDING HALLWAY

Nick gets his bearings, heads off, then realizes he should go
the opposite direction. He turns and meanders up the hall.

INT. APARTMENT - MORNING - CONTINUOUS

Forensic investigators process the expensive apartment. A
cop interviews a woman in a nurse's uniform.

Nick appears in the door. The sight of yet another crime
scene depresses and invigorates him.

Officer VICTOR TOMASI, youthful and sanguine for a man of
sixty, dusts for finger prints. He notices Nick.

TOMASI
Nick!

NICK
Tomasi. How's it going?

TOMASI
Good, my friend. How is it going
with you?

Tomasi, from Transylvania or some such place, speaks with an
accent. As always, his enthusiasm lifts Nick's spirit.

NICK
All right.

Nick cannot help but admire the elegantly appointed room.

TOMASI
Swanky.

Nick agrees. Tomasi indicates the bedroom.

MR. GOLDSTEIN'S BEDROOM

Nick enters. FRANK MCDONALD, in his fifties, pallid skin,
frumpy clothes, slouches over his notes. A covered body lies
on the bed. Frank glances at Nick.

FRANK
Hey.

NICK
Morning, Frank.

Frank notices Nick's condition.

FRANK
What was it last night?

NICK
Chianti. You?

FRANK
Scotch.
(embarrassed)
Blended.
(re: body)
Have a look.

Frank returns to his notes.

NICK
Why don't you spring for the good
stuff?
(uncovering body)
You can afford it.

FRANK
(friendly)
Naw.

Nick looks over the body of Mr. Goldstein, well-dressed for
an evening out, two punctures in his neck, eyes still closed.

FRANK
Beauty, huh? Robert Goldstein,
eighty-three, died around midnight.
Hope I never get that old.

Nick dislikes the aplomb with which Frank spits sarcasm.
But, this is normal. He lets it go.

Nick notices the punctures -- striking, almost bewitching.

NICK
What are those?

FRANK
Got me, buddy.

Nick kneels next to Mr. Goldstein.

NICK
Somebody getting the video?

FRANK
Mark got it. Security guards from
last night are downstairs.

Nick leans close - to within inches of Mr. Goldstein's neck.
His features soften, and are filled with an open desire that
Nick is not aware of. His mouth opens a bit.

Frank glances up from his notes and finds Nick's examination
peculiar. Nick extends a finger toward the punctures.

FRANK
What do you think?

Nick jerks his hand back, recoups his decorum, and stands.

NICK
Beats me. Forked to death?

With a smile, Frank returns to his notes. He always likes
working a scene with Nick -- professional and funny.

Nick covers the body. But, he cannot take his eyes off those
two punctures -- an inch apart, and the size of the barrel of
a ballpoint pen.

They stare back at him. Black and cold, but not unfriendly.

Nick drops the sheet on Mr. Goldstein's face.

NICK
(tightens coat)
It's cold in here?

Frank jabs his ballpoint pen at the open patio door, where
the sheer curtains billow wildly.

EXT. PATIO

Nick examines the empty patio, leans over the railing. Quite
a drop to the street.

MR. GOLDSTEIN'S BEDROOM

Nick enters.

FRANK
Didn't leave that way, hmm?

NICK
Anything missing?

FRANK
Safe's empty.

NICK
(how original)
There you go. Where's it at?

FRANK
(still writes, indicates
living room)
In there.

Nick likes working with Frank -- dry and succinct. But,
still. 'In there'? He stops in the door.

NICK
How come there's no blood?

FRANK
(doesn't look up)
Got me, pal.

Dry and succinct.

LIVING ROOM

With breezy professionalism, Tomasi dusts for prints.

NICK
Any luck?

TOMASI
Two sets so far. One, is the old
man's, the other, probably belong
to the nurse.

Nick checks the nurse being interviewed by a cop.

NICK
Fuck up the scene?

TOMASI
She calls it in, locks up, goes
downstairs, waits.

NICK
What makes you think they're the
old man's prints?

TOMASI
They are light. Old people? - have
dry skin.
(rubs fingertips together)
Dry, crispy. The older you are,
the lighter your prints. Old age,
my friend. That is the time to
commit crime. You are harder to
convict, and if they do send you
away...eh.

Tomasi snorts at his joke. Nick manages a smile, almost
against his will, then proceeds to the safe.

EMPTY SAFE

Donning a pair of latex gloves, Nick looks in the safe.

KITCHEN

There are two wine glasses, one full the other nearly empty.
The red wine bottle sits next to a half-full decanter.

Nick inserts a pen in the neck of the bottle so as to tilt it
back and check the wine's vintage. It's a beauty. One he
could never afford.

Holding the decanter by the rim, he swirls the wine. An
exquisite aroma -- torture.

He checks the contents of a cabinet, reaching in the back to
see the brand name on a jar. Pricey. He opens a couple
drawers. Excellent cutlery, a nifty wine opener. Cool.

Nick turns to leave and freezes with recognition.

FLASHBACK - A POSTER OF 'THE CELLIST' BY DOISNEAU

SOUNDS OF A RESTAURANT. The poster announces a showing of
'The French Masters' at a museum. A waiter passes with food.

RETURN TO SCENE - 'THE CELLIST' BY DOISNEAU - LIVING ROOM

Masterful brush strokes in oil give the painting a textured
surface. Lost in bittersweet memory, Nick approaches. An
amazing work of art. He reaches out, touches the frame.

FLASHBACK - INT. RESTAURANT - NIGHT

Nick and a beautiful young woman, HOLLY PRIESTLY, at a table.
Holly giggles. She gazes into Nick's eyes, presses her hand
on his. They share deep affection.

RETURN TO SCENE

Nick stares at the painting with an almost desperate longing.

He makes sure no one watches. The coast clear, he removes
the gloves, extends his hand, hesitates, and...
Nick runs the pad of his index finger over the canvas.

Enthralled, Nick smiles as a child.

TOMASI
This is you, my friend.

Tomasi has appeared behind Nick. Nick jerks his hand back.

NICK
(recovers, embarrassed)
Yeah. 'The Cellist'.

The name means nothing to Tomasi.

NICK
(in reverie)
This is the way things should be,
Tomasi. Beautiful, civilized.
Not...
(throws a grim gesture to
crime scene)

Again, he loses himself in the painting.

TOMASI
You should buy it.

The comment drags Nick out of his reverie, against his will.

NICK
Not in this life. Can I get a
report in the morning?

TOMASI
Sure, Nicky.

NICK
Thanks.

Nick clasps Tomasi's shoulder and leaves.

Tomasi watches with eyes that see through any facade.

INT. STAIRWELL LANDING - MORNING

SOUND OF TWO PEOPLE CLIMBING THE STAIRS. Brilliant sunlight
cascades onto the landing.

MRS. MARCINKA (O.S.)
(with accent)
It is a very good view. I am sure
you will like. Very nice this time
of year.

An elderly woman, MRS. MARCINKA, crosses the landing followed
by Isabelle. Isabelle carries the wilted potted plant and
blocks the sun with her hand. They ascend the stairs.

MRS. MARCINKA
Will not last. If you like, take
today. It is very nice. Wonderful
view. What you do?

ISABELLE
(with the same accent)
I am writer.

MRS. MARCINKA
It is this one.

They come to a door, Mrs. Marcinka produces keys.

MRS. MARCINKA
You write?

ISABELLE
(indifferent)
Novels.

While Mrs. Marcinka inserts the key in the lock, Isabelle
leans close and sniffs the woman, finding her odor offensive.

INT. LARGE LOFT - CONTINUOUS - SOUND OF DOOR BEING UNLOCKED

The door opens, Mrs. Marcinka enters and takes stock of the
loft - hardwood floor, large arched windows, no furniture.

MRS. MARCINKA
Well, come in girly! Have yourself
a look.

Isabelle steps into the loft, stops, scans.

MRS. MARCINKA
Bathroom is here. Kitchenette.
Plenty of space. Everything works
good. If you have any problem, I
fix right away.

Isabelle inspects the loft. For show only.

MRS. MARCINKA
It is very bright! You see?
(re: sunroof)
Very good sun. Cheerful! Good for
winter, no?

Isabelle isn't enamored of the damn sunroof.

ISABELLE
It is very good.

MRS. MARCINKA
(eying her, suspicious)
You like?

Isabelle stops at a patch of sunlight on the floor.

MRS. MARCINKA
I will show you....

ISABELLE
It will be fine.

MRS. MARCINKA
You will take?

Isabelle sets the plant down, pushes it into the sunlight
with her index finger, stands, faces Mrs. Marcinka.

ISABELLE
It is very good.

Mrs. Marcinka smiles. For show only.

INT. POLICE VIDEO ROOM - DAY

A young detective, MARK FREEMAN, handsome, athletic, watches
a video tape of an apartment building lobby. It's a boring
job, but Mark is used to boring jobs. He compensates for his
youth and inexperience with expensive clothes.

Nick enters with two coffees, gives one to Mark. Mark snaps
to, wanting to impress.

MARK
I got these cued-up.

ON THE VIDEO, Mr. Goldstein and a figure wearing a full
length leather coat with its hood up CROSS FRAME. The
figure's face cannot be seen. The video has no audio.

Mr. Goldstein and the figure cross the lobby, LEAVE FRAME.
Mark switches tapes.

MARK
I'll get these edited. Put them on
one tape.

In the next tape the subjects pass two security guards.

MARK
This is my creepy-ass friend. He's
going to drain my blood. Night
boys.

The guards wave to Mr. Goldstein. The subjects LEAVE FRAME.

Nick is just starting to get to know Mark. Just starting to
tolerate his sense of humor.

Mark switches tapes. On the next tape, an empty elevator.
The subjects ENTER FRAME, Mr. Goldstein presses a button.
Nick stares at the figure in the coat - this amuses Mark.

MARK
Boy-toy.

NICK
It's a woman.

MARK
How the fuck do you get that?

Nick winces at the use of that word again. He slows the tape
to frame-by-frame speed.

Nick traces the figure's shoulders, waist, and hips.

NICK
See? The hips? See how they're
wider than the shoulders?
A man's shoulders are wider than
his hips. A woman's hips are wider
than her shoulders.

Nick finds touching Isabelle's image pleasant, even
enjoyable. Mark finds this just plain queer.

MARK
Uh-huh. Well, thanks for the 'You
Can Be An FBI Agent'.

Mark leans back, his pose that of adolescent knowing blended
with an old man's cynicism.

MARK
But, old guys like boys. Makes
them feel young. Doing it with
boys makes you feel young. He's
probably taking steroids. In a few
months, he'll have a nice set of
boobs to go with those hips.

Mark hits a button, resuming the tape's normal speed.

Nick, practically in a trance, concentrates on the figure.

NICK
Hormones, Mark. You take hormones
to grow breasts.

Mark openly admires this. Nick never misses anything.

MARK
Okeydokey. Creepshow.

NICK
He's lonely.

MARK
Yeah, I'm lonely too, but I don't
date no Frankensteins.

NICK
That's not what Frankenstein....

The hooded figure turns her head up so that part of her face
can be seen. Nick and Mark jump to. Mark rewinds the tape.

MARK
Okay. I got it.

He replays the tape. The figure turns her face up. Mark
advances by frames.

MARK
Come on, pretty boy.

They get the best view. Isabelle's face, from the nose down.

NICK
There you go. That's our girl.

Nick inserts a floppy disk into the computer drive.

INSERT COMPUTER GRAPHIC: 'DATA TRANSFER IN PROGRESS'

MARK
It's a guy.

Nick finds her captivating. The more data transferred to
disk, the more he becomes infatuated by her image.

Mark observes the process, his amusement becomes thoughtful.

NICK
Naw.

INSERT COMPUTER GRAPHIC: 'DATA TRANSFER COMPLETED'

Nick, now practically mesmerized. Mark rolls his eyes.

MARK
He's cute, huh?

Nick realizes Mark has been watching and covers himself.

NICK
It's a woman. Come on. Jeez.

Nick ejects the disk, pockets it, heads for door.

NICK
Let's get you that desk.

MARK
Okay!

Mark jumps up, follows Nick out.

INT. GROUP OFFICE - MOMENTS LATER - DAY

Lots of desks, busy, people on phones, florescent lights.

Three desks in a row, Nick and Mark approach the middle desk
- clear except for a phone and computer.

At the desk to the left sits RACHEL MARTIN - young, sharp,
already checking Mark out -- which is noticed by --

KASLOW BABBITT, sitting at the desk to the right. He's
young, husky, keeps himself in good shape, and he's jealous.

NICK
(introduces)
Okay. Mark Freeman. These are
Detectives Rachel Martin and Kaslow
Babbitt.

Curt but polite nods all around.

NICK
Let me know if you need anything.

Nick pats Mark's shoulder and leaves. Rachel and Kaslow
assess Mark as he takes a seat.

Rachel comes over extending her hand. Mark quickly rises,
they shake.

RACHEL
Welcome aboard, Mark.

MARK
Hi, Rachel. Thanks.

Rachel returns to her work. Mark sits. Kaslow, not to be
outdone, comes over. Mark stands. They shake hands.

KASLOW
How you doing?

MARK
Hi. How you doing.

Kaslow returns to his desk. Mark flexes his hand and sits,
ready to stand again should anyone introduce themselves.

Rachel and Kaslow are back to work, busy like always.

A detective approaches Mark's desk. Mark stands. Mark is
halfway up when he realizes he's just passing by and has no
interest in Mark. Mark sits back down.

Mark surveys his pristine desk, checks the drawers - empty.
He takes a pen from his pocket and places it on the desk.

He looks around - everyone is busy. Everyone seems to be
doing the work of two. Mark feels guilty. He adjusts the
pen's position. He decides to make the first move.

MARK
'Kaslow'...that's a...

KASLOW
(bothered, doesn't look
up)
Russian.

MARK
Oh.

KASLOW
(doesn't look up)
What kind of name is 'Mark'?

As Mark thinks up an answer, Rachel struggles to control a
smirk. Mark catches on - lets it go and stares at his pen.

INT. ISABELLE'S LOFT - NIGHT

Dark. Isabelle lights a candle. She extends her senses into
the darkness, listening and waiting.

INT. NICK'S LIVING ROOM - NIGHT

Fresh from the shower, Nick inspects his face in the mirror.
Tired. He slaps on a young, enthused face. He alternates
faces. He couldn't fool anyone, including himself.

KITCHEN

Nick selects a bottle of B vitamins, pours two of the yellow
caps into his palm, downs them with red wine.

He replaces the vitamins with other vitamins and herbal
formulas which promise prolonged youth and improved memory.
He fills his palm with several capsules, downs them.

KITCHEN

Nick drops finely chopped garlic into a pan of heated Extra
Virgin olive oil. It simmers.

Nick brushes the aroma to his face and inhales with deep
pleasure. He drops chopped plum tomatoes into the pan, adds
linguine fine, tosses, adds fresh basil and plates, topping
with grated Parmigiano Reggiano and fresh pepper.

LIVING ROOM

Nick inserts a familiar CD into an expensive player. A
Bartok string quartet begins. It's dry, mournful,
intelligent, and lonely. Perfect for Nick.

It's a spare room. There's a nice collection of books -
histories, non-fiction. No TV, but there's an excellent
stereo. Prints of famous paintings adorn the walls.

Nick turns off the only light and goes to his computer.

Bathed in the monitor's bluish glow, Nick sits at his
computer with wine and pasta.

He stares at a poster of 'The Cellist' -- this is a
superficial replication compared to the actual painting. Its
shiny surface as flat as Nick's very existence.

With his index finger, Nick pushes the pasta away. He
inserts the floppy disc into the hard drive. The image of
Isabelle appears on the monitor. Nick gazes at it and sips
wine.

He looks deep into the shadows where her eyes hide. He finds
her magnetic.

The phone rings. Jolted, Nick picks up the receiver.

NICK
Hello.

No response. It's her. Nick is immediately concerned.

NICK
Holly?

NICK
Holly... Are you okay?

HOLLY (V.O.)
(drunk, on pills)
You're not going to forget?

NICK
(gentle)
I never forget.

HOLLY (V.O.)
Do you ever...

NICK
Holly. I'll send the money. Why
don't you go to bed?

Nick pours wine with his left hand. He wears a wedding ring.

FLASHBACK - SOUNDS OF A RESTAURANT - INT. RESTAURANT - NIGHT

Nick, a vibrant man with a good life, promising future, pours
wine with his left hand. He wears a wedding ring.

Holly gazes lovingly at Nick, sips wine.

She follows his gaze to -- the poster of 'The Cellist'.

HOLLY
You should buy it.

The comment snaps Nick out of his reverie.

NICK
Not in this life.

HOLLY
Oh! You're so dramatic!

Nick appreciates her tease.

RETURN TO SCENE

HOLLY (V.O.)
Why? You think I'm too drunk?
You stupid fuck.

He tolerates her tired insults.

NICK
(gentle, with love)
Holly. Get some sleep.

HOLLY (V.O.)
She's gone...

With this, Holly's voice changes from drunken condescension
to sharp regret.

Nick stops, frozen by the memory of:

RETURN TO FLASHBACK

A waiter serves a dessert with six candles to JESSICA
PRIESTLY, a sparkling girl.

Nick and Holly watch for their daughter's response. They are
eager, proud, filled with hope for her future. Their future.

NICK
What's this?

HOLLY
Oh, look!

Jessica's eyes light up, fill with joy.

JESSICA
Birthday cake! I'm six!

This delights everyone.

RETURN TO SCENE

Nick stares, eyes lifeless. He waits patiently.

HOLLY (V.O.)
It wasn't my fault...it wasn't.

They've been here so many times. Her denial lost its fire
long ago - about the time his response lost its warmth.

NICK
I know, sweetheart.

Sloppily, Holly replaces the receiver. Nick hangs up. The
Bartok drones on and on. Nick grasps his wine glass.

RETURN TO FLASHBACK

Jessica has trouble with her cake. Holly helps.

HOLLY
Jessica. Let me help you.

JESSICA
I can do it, mom!

They're so close. Holly loves Jessica dearly.

Nick adores them both.

HOLLY
I know, sweetheart. Let me help
anyway.

NICK
Happy birthday, Jessie.

HOLLY
(brushes Jessica's hair)
Happy birthday, Jessica.
(re: candles)
Go ahead! All at once!

Jessica blows the candles out. They clap and cheer.

Each candle emits a wisp of smoke. The smoke floats up and
dissipates, until it blends with the blackness.

INT. BONGO'S RESTAURANT - DAY

Nick and Mark at a table. Mark devours a huge burger. Nick
enjoys an extremely rare fillet of salmon. Mark jabs two
fingers at his neck.

MARK
(with full mouth)
Bluh loth? Fuh. Toxicology?

Nick refuses to respond. Mark takes the hint and chews.
Nick butters a roll, the picture of decorum. Eventually.

MARK
(over enunciates)
What does toxicology show?

NICK
He had some red wine, took blood
pressure meds.

MARK
Blood pressure's fixed now. Maybe
it's a cult thing. You know, the
mother ship's coming, all you got
to do for a ride is give us your
blood. People do that shit. All
the time. Fuck.

NICK
Does every other word have to....

MARK
(overlap)
Okay! Sorry! Sorry. Fuck.

NICK
Look into his medical history. See
if there's a cancer or something.
Could be euthanasia.

MARK
(snickers, adores his
lunch)
That's kind of....

Mark raises his eyes and freezes at Nick's intense gaze.

MARK
Oh come on, Nick! That's stupid!
The family would know something.
There'd be a doctor, not some
priestess in a fucking gown! And,
what's with the blood letting? How
about an injection, or pills, or
something? Like the good old days.

Frank arrives, removes his coat, takes a seat.

NICK
And, a spaceship cult?

Mark has no defense so he shrugs.

NICK
Don't be afraid to speak your mind.

MARK
All right, then.

FRANK
Guys.

FRANK
Just got the autopsy pics.

Frank places a folder next to Mark. Mark eyes it.

FRANK
(stares at Nick's salmon)
Snowing again.

NICK
(re: staring)
What?

FRANK
How do you eat that?

NICK
What? It's perfect.

FRANK
It's raw.

NICK
It's perfect. Get the burger.

JONI ROBINSON, violinist, competition winner at the Boston
Conservatory and part-time waiter, arrives.

JONI
(to Frank)
Inspector.

FRANK
Hi, Joni. I'll have the salmon,
but cook mine.

JONI
One salmon, medium, and iced tea.

FRANK
Well-done.

JONI
You want that cooked through?

FRANK
Yeah. 'Well-done'.

JONI
(whatever)
Coming up.

Joni and Nick exchange a glance. Joni leaves.

FRANK
(to Joni)
Is that all right?

JONI
(not looking back, putz)
Sure, Frank.

FRANK
(in good humor)
Fuck.

Nick and Mark laugh, Frank joins in. A piece of salmon falls
off Nick's fork. Nick picks it up with his fingers.

FRANK
Didn't know it was such a big deal.

With his index finger, Nick slides the salmon across his
plate, through buttery herb sauce, it meshes with the fillet.

FRANK
I don't know how you eat that.

In a purposefully sexual gesture, Nick sucks the sauce off
his finger. It has the intended effect, offending Frank.
Mark peeks into the folder, noticing none of this.

NICK
Mark got some good stuff.

FRANK
Yeah?

Mark sees the first autopsy photo, regrets looking.

MARK
Yeah. Goldstein ate at Chez Louis
every night. Just about. Always
alone. That night, he's with this
babe. They figured she was an
escort.

FRANK
(to Nick)
Ever eat there?

NICK
Are you kidding?

He rubs his fingertips together - costs a week's salary!

MARK
(refers to notes)
Young, long dark hair, athletic.
Had this full-length leather coat.
And, old clothes.

FRANK
Old?

NICK
Vintage.

Frank turns to Nick.

FRANK
Yeah?

NICK
Yeah. I'll check it out.

Frank nods. Mark doesn't get it.

NICK
Someone at a vintage clothing store
might recognize a description.

Mark would have figured that out, given time. Joni serves
Frank his iced tea, tops off Nick and Mark's tea.

MARK
Oh, yeah. I finished that security
tape.

Mark tries to eat, but cannot. His audience waits eagerly.

MARK
(looks up)
The killer never left.

Joni, offended as usual, returns to work.

NICK
(waits till she is gone)
No shit.

MARK
(plays with food)
Not by the front door.
I fast-forwarded through the whole
tape. Nobody left, so I figured I
missed it. Went back at regular
speed. Almost went blind.
(looks up)
Six hours till the nurse shows.

Mark returns to his food. Frank and Nick wait.

MARK
No one left. No one came out.

FRANK
So, how'd he get out?

MARK
She.

NICK
We think it's a woman.

MARK
Yeah. The hips are just a little
wider than the shoulders. So, it's
probably....

FRANK
Okay. How'd she leave?

MARK
Maybe, she flew.

Frank smirks. Nick grins.

NICK
Patio door was open.

MARK
Hang-glider!

Frank, incredulous.

NICK
Have to consider everything, Frank.

FRANK
(to Mark)
Go over the tape again.

Mark balks.

FRANK
Okay. Then, without leaving
finger prints or physical evidence
of any....

MARK
(overlap, not looking up)
How do you, how do you do that?

FRANK
Do what?

MARK
(picks at food)
Get blood out. The old guy didn't
have a drop left. You need some
kind of machine...
(looks up, pushes plate
away)
...to suck blood out.

FRANK
Suck blood? Who the hell would
suck blood out of a living person?

What the fuck kinda question is that? Mark savors the drama,
then, with a flourish:

MARK
How the fuck would I know?

NICK
(to cover Mark's rudeness)
He thinks it's cult related.

Frank rolls his eyes. This dismissal really pisses Mark off.

NICK
He's got something. Forensics
didn't find residuals. Supports
the use of a...device. No blood
anywhere.

MARK
See? She didn't spill a drop.

Frank doesn't like Mark, but he has to admit - that's a
pretty good joke. Nick agrees - pretty funny. Mark enjoys
his victory, then Frank plays an ace.

FRANK
Okay. Fine. Then, she leaves via
the patio. On the twenty-seventh
floor. With the blood.

Mark gives up. Nick cannot support Mark's theory.

FRANK
(to Mark)
You going to eat that?

Mark gestures he cannot finish, and glances at the autopsy
folder. Frank takes Mark's plate, then asks:

FRANK
May I?
(final sarcastic blow)
Octogenarian hang-glider.

Mark has had enough.

MARK
I'm going to forensics.

NICK
Good work with that tape.

Mark thanks Nick, but narrows his eyes at Frank.

MARK
Catch you later.

NICK
Later.

FRANK
See you.

Mark leaves. Frank takes a huge bite of the burger. Nick
glances at Frank, then the folder. Frank notices.

NICK
Why do you bring those?

Frank takes another bite - his cheeks bulging, and shrugs.

NICK
(admires his salmon)
Joni's the only one who'll serve us
anymore. Because of stuff like
that. Just about made Mark sick.
So good. Do you know you can only
get this once a year?
People plan their vacations around
this salmon. You're going to love
it.

INT. STAIRWELL - DAY

Mrs. Marcinka ascends the stairs, stops at Isabelle's door,
listens, thinks she hears something suspicious, continues up
the stairs.

INT. CASHIER STATION - DAY

BOBBI LASSITER, early twenties, already bored with life,
flips through a travel magazine. The beautiful images stave
off boredom, if only momentarily. Behind Bobbi, a vintage
map of the world peppered with colorful push pins.

INT. GOTHIC VINTAGE CLOTHING STORE - CONTINUOUS

A lone customer browses. The customer leaves. SOUND OF THE
DOOR OPENING/CLOSING.

BOBBI
(looking at magazine)
You come back real soon.

Bobbi glances up, sees Isabelle browsing. She wears a full
length leather coat with its hood up. Bobbi finds her old
world elegance appealing.

Isabelle pulls her hood back. Her looks leave Bobbi
breathless. Bobbi steals glances. Isabelle glances back,
Bobbi quickly lowers her eyes.

BOBBI
Hi. Let me know if you need help.

Isabelle selects an ivory-colored silk blouse.

BOBBI
That would look great on you.

ISABELLE
You think?

BOBBI
There's a dressing room.

Isabelle smiles. Almost shocked by Isabelle's beauty, Bobbi
can only return a gawky smile.

MOMENTS LATER

Bobbi reads her magazine. She gazes at the dressing room
door. The sight of Isabelle's bare feet and calves leaves
Bobbi practically drooling.

MOMENTS LATER

Bobbi looks up and beholds Isabelle wearing the silk blouse.

BOBBI
Awesome.

ISABELLE
You like it?

BOBBI
The buttons are real ivory. Can't
get that anymore.

ISABELLE
(fingers buttons)
Really?

Isabelle sashays back to the dressing room, Bobbi following
her every move.

INT. STAIRWELL - DAY

Mrs. Marcinka comes down the stairs. She stops at Isabelle's
door, leans close. Although sure she hears weird noises, she
leaves it for another day, and continues down the stairs.

INT. GOTHIC VINTAGE CLOTHES STORE - DAY

Isabelle waits while Bobbi bags the garments.

BOBBI
These are nice. You have really
good taste. Okay. That's two
hundred-eighty dollars.

Isabelle counts out cash.

BOBBI
Don't believe in plastic?

ISABELLE
I am new in Boston.

Isabelle hands over the cash. Their hands touch. Isabelle
notices Bobbi's travel magazines and the pinned map. Among
others, cities in the Soviet Union, and Poland are pinned.

ISABELLE
Your map is old.

BOBBI
Yeah. It's nice.

ISABELLE
You wish to travel?

BOBBI
Yeah! I'm going to sell this
place...take off. Someday. I
marked all the cool cities.

ISABELLE
The shop...it is yours?

BOBBI
Yeah. My dad left me a little
money. So, I got this place.

Isabelle finds the girl's lack of reserve charming.

Bobbi hands over the change. Their fingers touch.

ISABELLE
It is very nice.

BOBBI
Thanks. You like the club scene?
Night life? There's this cool Goth
club. Called The Crypt. I hang
out there, sometimes. It's not
far. I could show you. Since
you're new and everything.

ISABELLE
Goth?

Isabelle takes her clothes from Bobbi. Their fingers touch.

BOBBI
You know, Goth? Gothic? Dark,
spooky. Everyone trying to be
scary. You'd fit right in.

ISABELLE
You believe so?

BOBBI
Totally! You've got it. For real.

Isabelle shrugs, coy.

ISABELLE
Thank you.

Isabelle leaves. SOUND OF THE DOOR OPENING.

BOBBI
Sure! Hope I see you there.

SOUND OF THE DOOR CLOSING

BOBBI
You fucking fox.

INT. NICK'S CAR - DAY

Nick has a note pad with a list of store names. He crosses
GOTHIC VINTAGE CLOTHES off the list and gets out of his car.

INT. GOTHIC VINTAGE CLOTHES STORE - MOMENTS LATER

Bobbi reads a travel magazine. THE DOOR OPENS/CLOSES. Bobbi
looks up, Nick is there. Caught off guard by his assured
bearing, she glances away.

BOBBI
Hi.

NICK
Morning.

BOBBI
May I help you?

NICK
(shows ID)
Hope so. My name is Nick Priestly.
I'm with the Boston police.

BOBBI
Anything wrong?

NICK
No, nothing like that. We're just
looking for someone. I'm hoping
you might recognize...
(takes photo out)
You can't really see the face.
It's kind of a...the coat is...

Bobbi takes the photo. She recognizes the coat.

NICK
Ever see one like this?

BOBBI
No, sorry.

NICK
They don't make coats like that,
anymore.

BOBBI
I guess.

NICK
Ever see one like that?

BOBBI
Nope.

NICK
Well...
(takes pic back)
Could I get your name?

BOBBI
Bobbi Lassiter.

NICK
This is your place?

BOBBI
How'd you know?

NICK
You can sort of tell.

He could tell that? Pretty good.

NICK
Thanks for your time.

Nick leaves. Bobbi watches him go.

INT. ISABELLE'S LOFT - NIGHT

Isabelle stands at the window lit only by blended city
lights. She opens the window. SOUND OF STREET SOUNDS.

Isabelle turns to hear. STREET SOUNDS recede. The
conversation of people on the street three floors below
becomes audible by degrees. There are two young women. They
speak with Boston accents.

PERSON 1 (O.S.)
I don't know. He didn't feel like
going to work.

PERSON 2 (O.S.)
He lost another job?

ISABELLE
(with Boston accent)
He lost another job?

PERSON 1 (O.S.)
What a fucking jerk.

Isabelle delivers a perfect Boston brogue.

ISABELLE
What a fuck...what a fucking jerk.
Fucking jerk. He's such a fucking
jerk. Jerk.

INT. NICK'S OFFICE - NIGHT

Nick flips through Mr. Goldstein's autopsy pics stopping at
one showing two punctures in the neck. He stares at the
holes - they are like black, smiling eyes.

Nick selects a ruled macro photo of the punctures. He puts
his thumb over one puncture, index finger over the other.
Maintaining the distance, Nick touches his fingers to his
canine teeth. The same distance.

FRANK (O.S.)
Your teeth hurt?

Frank in the doorway.

NICK
Hey. No. Just... Trying to
figure...this.

FRANK
Let's get a drink.

NICK
I better get home. I'm beat.

FRANK
Can't sleep?

NICK
Yeah.

FRANK
Any luck with that coat?

NICK
No. Not yet.

FRANK
Well...long shot. I'm giving that
to Mark.

NICK
I don't mind.

FRANK
Let him do some leg work.

NICK
I need the exercise. Any excuse to
get out of here.

FRANK
You sure? You look like a glazed
donut.

NICK
What?

Frank indicates someone with eyes glazed from fatigue. Nick
just eyes him, having never heard this turn of phrase.

FRANK
You know? Never mind. Get some
rest.

They nod, Frank leaves.

INT. BOBBI'S APARTMENT - NIGHT

Bobbi searches the Boston Police's web site. She finds
images of Isabelle from the security tape. The same one Nick
showed her. Bobbi scrolls.

INSERT COMPUTER SCREEN: $10,000 REWARD FOR INFORMATION
LEADING TO THE ARREST AND CONVICTION OF THIS
INDIVIDUAL...[ETC.], SUSPECTED OF CRIMINAL ACTIVITY.

BOBBI
'Criminal activity'? Cool.

Bobbi makes a serious decision. With ease.

INT. HALLWAY - NIGHT

Mrs. Marcinka listens at Isabelle's door. She knocks very
softly, too quiet to be practical. After waiting a few
seconds, she brings the key to the dead bolt.

INT. ISABELLE'S LOFT - NIGHT

Dark -- SOUND OF THE DOOR BEING UNLOCKED

The door opens. Mrs. Marcinka's shadow plays out across the
floor. She enters and flips the light switch - nothing. She
peers into the dark loft, wary.

Mrs. Marcinka relaxes and strolls well into the loft,
casually. She stops where the hall light fades.

MRS. MARCINKA
Girly? Isabelle? Izzy? I
knocked...

She shuffles another step or two.

MRS. MARCINKA
Girly?

Mrs. Marcinka looks up at something:

A round ceiling light fixture with a white plastic cover.

MRS. MARCINKA
I wanted to check the....

Mrs. Marcinka hears a sound. Someone there? Would that girl
hide in the dark and watch? Mrs. Marcinka backs out, seized
by fear.

SOUND OF THE DOOR CLOSING AND THE BOLT BEING SET

A MATCH LIGHTS

Isabelle lights a candle. She sniffs a foul odor.

MOMENTS LATER

Isabelle boards up the door, driving home long spikes with
sure strokes.

INT. MRS. MARCINKA'S LOFT - CONTINUOUS

Mrs. Marcinka's hands tremble as she makes tea.

SOUND OF DISTANT HAMMERING

Mrs. Marcinka casts her eyes up to 'that girl's' loft, her
suspicion bordering on loathing.

INT. NICK'S APARTMENT - NIGHT

Nick sits at his computer, lit only by Isabelle's image on
the monitor, Mr. Goldstein's autopsy photos scattered about.

Despite her being his prime suspect, he cannot deny the
attraction. Inhibitions loosened by wine, Nick indulges
himself and runs his finger along the image.

Nick slides the pad of his index finger down Isabelle's
jawline to her chin, across her lips. Lost in fantasy, Nick
moves his lips.

Catching himself, Nick withdraws his hand, stung by the
impropriety, yet unable to shake the attraction.

He stares at the poster of 'The Cellist'. A cheap
duplication. His life has become as flimsy a surrogate as
the poster.

The cellist is a young woman. So content and refined.

Light reflects off the poster's shiny surface -- THE
BRILLIANT REFLECTION MORPHS INTO: ONCOMING HEADLIGHTS

FLASHBACK - EXT. HIGHWAY - NIGHT

Cars scream down a slick highway on a snowy night.

INT. SNOW DAPPLED WINDSHIELD - CONTINUOUS

Wipers clear snow. Swipe after swipe.

INT. CAR - CONTINUOUS

Nick drives, Holly in the passenger seat. Jessica is asleep
in the back. She cradles a new doll. Her seat belt is on.

Randy from drinking, Nick checks out Holly's gorgeous legs.
Too nice to resist, he caresses her thigh.

Holly catches her breath, Nick reaches deeper.

HOLLY
Bring your handcuffs, detective?

Despite being a homicide detective, she always manages to
embarrass him. He checks Jessica in the rear-view.

HOLLY
We're almost home, honey.

Holly replaces Nick's hand on the steering wheel.

NICK
Can't blame me.

Unable to keep his mind on the road, Nick cops another feel.

HOLLY
Nick...

Nick reaches deep, crumpling her skirt. Holly relents,
spreading her legs.

HOLLY
You're so bad!

Nick grins.

Enthralled by her response, Nick forgets his driving.
Lazily, Holly lifts her eyelids and witnesses a horror.

HOLLY
Nick!

A few feet away, a truck merges.

NICK
Jesus!

HOLLY
Watch out!

With both hands, Nick jerks the wheel. The car skids across
the highway. Oncoming traffic blast their horns and swerve,
but a collision cannot be avoided.

RETURN TO SCENE - THE POSTER OF 'THE CELLIST'

A glass of red wine hits the poster and shatters.

Nick, face bleached by the monitor's cold light, shattered,
riddled with guilt -- glares at the poster with contempt.

A drop of crimson liquid hangs from the pointed tip of a
shard of glass. It falls onto the floor.

INT. CLUB - NIGHT

A young man, LAWRENCE SYLVESTER, brainy - never had a date,
sits alone at a table doing his best to look cool. He turns,
finding Isabelle next to him.

ISABELLE
(loudly, over music)
May I?

LAWRENCE
Hi. Sure.

Isabelle sits. When she does, the music's volume drops. It
becomes quiet enough to speak at a conversational level.

ISABELLE
(with flawless Boston
accent)
I'm Isabelle.

LAWRENCE
(very loud)
Hi, Isabelle.

He looks around. They seem to be separated from the rest of
the club, the music quieted only around them.

LAWRENCE
(quieter)
I'm Lawrence.

ISABELLE
Lawrence. There's an old fashioned
name.

LAWRENCE
Well, so's Isabelle.

ISABELLE
Yes. Are you alone?

LAWRENCE
Not anymore.

He winces. Very nervous, he looks around again, gulping
beer. He senses something amiss, but lets it go.

ISABELLE
Meeting someone?

LAWRENCE
I don't think so. You?

He's played into her hand. She grins, her eyes pinning him.

ISABELLE
Looks like I have.

He laughs stupidly. The crowd seethes, the music roars.

INT. LAWRENCE'S APARTMENT - NIGHT

Dark. SOUND OF TRAFFIC. SOUND OF THE DOOR BEING UNLOCKED.
The door opens.

LAWRENCE (O.S.)
Hold on a sec.

He enters.

LAWRENCE
We're going to rig a switch by the
door. Someday.

Silhouetted against the hall light, he sidesteps across the
room, groping above his head. Isabelle's shadow stretches
across the floor.

LAWRENCE
Just give me a sec.

He finds the string, pulls it. A bare light bulb lights.
It hangs by a cord. It swings back and forth.

LAWRENCE
Okay. Safe now. Come on in.

She comes in, closes the door. He goes to the fridge, gets
two bottles of beer, opens them.

LAWRENCE
My roommate's camping with his
girlfriend. I have the place to
myself. For once.

ISABELLE
I had a loft like this. A long
time ago.

With a practiced motion, Lawrence stops the light bulb's
swinging.

LAWRENCE
Yeah, I can't wait to get my own
place. It's close to the U,
though. It just takes me a few
minutes to walk to class. Would
you like a beer?

She glides about, assessing the place.

ISABELLE
What do you study?

LAWRENCE
Math.

He extends the beer to Isabelle.

ISABELLE
A good profession.

She doesn't take the beer so he sets it on the table. He
sips his beer, nervous.

LAWRENCE
You can make some bucks. I work on
a lot of hypothetical stuff.
Discrete formulas and stuff.

ISABELLE
Discretion is good.

Isabelle picks up a hula-doll. The doll's hips swivel.
Isabelle smiles like a child.

LAWRENCE
That's just a toy. I got it at
this store. They sell toys and
stuff.

Enchanted with the toy, Isabelle wanders over to the half
wall separating the kitchen and living room. She stands with
her back to Lawrence. She touches the doll, it dances.

ISABELLE
(lost in memory)
They do this in the Islands.

More relaxed, Lawrence checks out Isabelle's fine figure.

ISABELLE
Do you like it? Math?

LAWRENCE
Yeah. I like the structure.
Logic.

Isabelle places the doll on the counter, touches its grass
skirt. The doll dances.

LAWRENCE
What do you do?

Isabelle glides into the living room. When she does, the
living room becomes darker.

LAWRENCE
They're so advanced they don't have
practical applications. That's why
they're called 'discrete'. You
can't do anything with them. Keep
you sharp, though.

Isabelle sits on the couch. The TRAFFIC SOUNDS fade.

ISABELLE
That's a bit self-indulgent.

LAWRENCE
Well, no. You can apply the theory
to real-world problems. NASA's
always looking for people who can
do that. I know what you mean,
though. Some of those
guys...they're so serious. That's
all they talk about. Fucking
formulas. Always carrying a bunch
of books. They think the more
books you carry, the smarter you
are. There's more to life.

ISABELLE
Is there?

Lawrence shrugs.

ISABELLE
I was never very good at math.

LAWRENCE
Yeah. I'm not too good at music.
I took lessons...piano. Sucked
pretty bad. I can play some
Chopin. Do you like Chopin?

ISABELLE
I did like Chopin. Very well. He
died, though.

LAWRENCE
Yeah, me too.

ISABELLE
So. What more is there to life?
What's so much more important than
your formulas?

LAWRENCE
(guesses)
True love?

He moves away from the light bulb so as to see her better.

ISABELLE
I have a discrete problem for you.

He settles at the half-wall, silhouetted by the single light
bulb. Traffic silenced, Isabelle barely visible.

LAWRENCE
Yeah?

ISABELLE
What is the probability of finding
the perfect mate?

LAWRENCE
What? Like a lover?

ISABELLE
No. Not 'like a lover'. The
perfect mate, Lawrence. The 'One'.

He laughs, then realizes she challenges him.

LAWRENCE
No, okay. That's a good one. I
don't do probabilities. But. Take
the population of the world...
Breakdown by gender, age...
Profession, education...

ISABELLE
You can figure all that?

LAWRENCE
(beams)
Oh, yeah! You need a compatibility
matrix. To substitute the....

ISABELLE
(overlap)
You really are a geek.

He thinks she is flirting. He squints to see her.

LAWRENCE
That's kind of bullshit, though.
True love?

He speaks to darkness.

ISABELLE (V.O.)
My. Mathematicians have
become...cynical.

LAWRENCE
Nobody finds 'The One'. Some
people, maybe. I guess. But...

ISABELLE (V.O.)
I had a loft just like this.

LAWRENCE
There's a bedroom, too. I mean,
it's an apartment, really. Not a,
just a studio. Loft.

ISABELLE (V.O.)
You don't believe in true love?

LAWRENCE
I don't know. Is that what you're
all about? The whole relationship
thing is stupid. To me... I never
knew anyone who found their
'soulmate'.

With a swagger, Lawrence downs a gulp of beer.

ISABELLE (V.O.)
Which is worse, Lawrence?
Believing such a person exists, or
searching for them?

With a jerk, he becomes his old meek self again.

LAWRENCE
I was just saying. I didn't mean
anything.

ISABELLE (V.O.)
But, you did.

He gives it up. He likes the buzz and he likes being the
man. She pissed? Too bad.

LAWRENCE
Naw.

ISABELLE (V.O.)
One mustn't give up. For each of
us, there is a perfect mate.
We shop around. Most disappoint.
But, every now and then...

LAWRENCE
(whatever)
Sounds like fun.

ISABELLE (V.O.)
You must to have faith, Lawrence.
I've been searching for the perfect
mate for...a long time.

Wow. A long time, huh? - maybe you should just leave.

LAWRENCE
Yeah?

ISABELLE (V.O.)
(whispers)
Yes.

LAWRENCE
Any luck? Look, uh...

ISABELLE (V.O.)
Come here.

He hesitates, suddenly sensing danger.

ISABELLE (V.O.)
Lawrence. Do you have faith?

Desire and arrogance drive him, push him into the darkness.

A LONG PAUSE, then, A MOAN, a mix of sexual pleasure and
anguish. Another PAUSE. SILENCE. Darkness.

SOUND OF A BOTTLE HITTING THE FLOOR AND ROLLING

A beer bottle careens, dancing into the light shooting and
spurting foam. The bottle rolls, slows, stops. The foam
pours, then drizzles, then drips. Drop by drop. Drip by
drip. One last drop hangs from the lip of the bottle, before
falling onto the floor.

INT. VIDEO ROOM - DAY

Mark fights boredom as he stares at video of the hall outside
Mr. Goldstein's apartment door. A figure comes up behind
Mark.

RACHEL
Pretty exciting.

Mark jumps, spins.

MARK
Rachel! Fuck! Trying to kill me?

RACHEL
I don't try, baby.

She's a straight shooter and Mark likes that.

RACHEL
Let's get some coffee?

MARK
Can't.

Is he kidding?

RACHEL
Come on. It's five hours old.

MARK
Have to finish this or Nick'll
freak.

Maybe he's not interested. No way! He's chicken.

RACHEL
Well, aren't you just his little
bitch.

Too late, Mark realizes he has missed a great chance.

RACHEL
Let me know if you change your
mind. 'Sweetheart'.

She leaves. Frustrated, Mark fast-forwards the tape. The
digital counter rolls but the image doesn't change.

EXT. HOUSE - DAY

Nick knocks on the door. Waits. No answer. He tries the
door. Locked. He gets his keys.

LIVING ROOM

SOUND OF THE DOOR BEING UNLOCKED. Nick enters, closes the
door, surveys the familiar room. It's pristine, unused.

With his index finger, Nick swipes a trail through the dust
on a table.

There are family photos on the table. Hesitant, he selects
his favorite and gazes at it. A PHOTO OF NICK, JESSICA, AND
HOLLY. All glow with the joy of family life. It brings back
bittersweet memories.

KITCHEN - MOMENTS LATER

Nick looks around. Dirty dishes and food left out. He
starts a pot of coffee.

Nick looks in the garbage. Empty except for liquor bottles
and an empty prescription drug bottle.

KITCHEN - LATER

Nick takes the last sip of coffee, turns the TV off. The
kitchen sparkles. He rinses the cup, puts it away.

Nick puts a personal check on the table.

HOLLY (O.S.)
You don't have to bring those.

Nick turns. Holly stands in the kitchen doorway.

Years of drinking, and now anti-psychotics, have left Holly
haggard, worn from constant grieving, hardly recognizable as
the woman in the photos. She clutches an empty shot glass.

NICK
Morning, Holly.

Her permanent sneer is the only response.

NICK
I don't mind.

She shuffles to the cabinet

NICK
How are you?

Holly gets a fresh liquor bottle, cracks the seal.

NICK
I thought we could have dinner.
It's Saturday. We could go to....

HOLLY
I'm staying in.

NICK
You should get out. There's a....

HOLLY
I'm staying!... I'm staying in.
You don't need to check on me. I'm
not a child.

NICK
I just wanted to say hi.

HOLLY
It's not like we're...

She tries to meet his gaze, but gives up the effort.

NICK
When are you going to let it go?
We have to move on.

HOLLY
(weak, hurt)
Go fuck yourself.

Nick wants to go to her, but knows better.

NICK
Call me if you need anything.

Nick leaves. Tension flares as he passes Holly.

HOLLY
Just mail them....

SOUND OF THE DOOR OPENING/CLOSING

HOLLY
...from now on.

Holly pours a hefty drink and gazes into it.

SOUND OF A CAR HORN

FLASHBACK -- EXT. INTERSTATE - SNOWY NIGHT

A car loses traction. A collision cannot be avoided.

INT. NICK'S CAR, PARKED - NIGHT

Nick awakens with a start. A layer of snow on the
windshield. He flips the wipers once.

The windshield has fogged. He rubs a clear spot.

Nick watches a building across the street through the clear
spot. He tightens his coat, turns the heat on, rubs his
hands in front of the vent. Cold air. He kills the heat.

He looks up, sees someone leaving the building. He rubs the
spot in the windshield clear again and makes out Bobbi,
getting into her car.

Nick considers his actions. Although ridden with guilt,
curiosity drives him. He starts his car and follows Bobbi.

INT. THE CRYPT - NIGHT

Bobbi sits alone at a table. Leather-clad dancers grind out
primal moves to a pounding industrial beat.

Bobbi turns to find Isabelle sitting next to her.

ISABELLE
Hi.

Bobbi doesn't try to hide her excitement.

BOBBI
Hey! You came!

ISABELLE
I was in the neighborhood.

BOBBI
Yeah! That's cool.
(checks her out)
How have you been?

ISABELLE
Nice place.

BOBBI
Yeah! Great place! No wannabes
allowed. Didn't you have an
accent?

ISABELLE
I travel a lot. It goes away.

BOBBI
No shit! That is so cool!

The fact that Isabelle travels sends waves through Bobbi.

BOBBI
I can't wait to get out of here. I
hate Boston. You want a beer?

ISABELLE
Are you meeting someone?

BOBBI
No. Just having a beer.

ISABELLE
No date?

Bobbi rolls her eyes.

ISABELLE
Sorry.

BOBBI
I'm better off without. Fucker.
Men are shit.

Bobbi is too young to know what she is saying. Isabelle
likes the control she has over the girl.

Bobbi knows she is at a disadvantage and clings to a previous
question for support.

BOBBI
You want a beer?

ISABELLE
Do they have wine?

BOBBI
In this place! We can go someplace
else.

ISABELLE
Do you like wine?

Bobbi understands what is really being asked and musters all
her sophistication.

BOBBI
Yeah.

Pinning Bobbi with her eyes, Isabelle smiles, natural, smooth
and in complete control.

EXT. THE CRYPT - MOMENTS LATER

Bobbi and Isabelle get into Bobbi's car. She starts it up
and drives off. Up the block, Nick's car pulls out.

Nick is following Bobbi when he is cut off by another car.

FLASH: NIGHT - NICK IS DRIVING WITH HOLLY AND JESSICA. HE
LOSSES CONTROL OF THE CAR -- AN ACCIDENT CANNOT BE AVOIDED.

RETURN TO SCENE: Nick locks up his car and slides to the side
of the road. The other driver waves apologetically and
drives off. Nick looks for Bobbi's car, catching it just as
it turns a corner. He is stuck in snow. He has lost her.

INT. ISABELLE'S LOFT - NIGHT - LATER

Isabelle pours two glasses of red wine.

Bobbi, next to the bed, lights a candle - the only light.

BOBBI
When are they turning your lights
on?

ISABELLE
I'm not sure.

BOBBI
They're so slow.

Bobbi checks out the loft. Bare, except for the plant, hula
doll, and a wrought iron bed. Curtains hang over the front
door.

The bed is an antique, the iron wrought into oak leaves.

BOBBI
Wow. Nice place. Must cost a
fortune. When does your stuff get
here?
(refers to bed)
You got the important stuff.

Isabelle glides over, serves Bobbi wine. Bobbi does her best
to lock eyes with Isabelle, but cannot match her gaze. Bobbi
has to move away and gather her wits.

Bobbi runs her finger over the bed frame's oak leaf pattern.

ISABELLE
It's from the Carolinas. Eighteen
seventy. Or so.

BOBBI
Jeez. Nice.

Bobbi wishes she could have such things. She sits on the
bed, running her fingers over the fine leaf-pattern quilt.

BOBBI
You like plants.

ISABELLE
I have a knack for them.

BOBBI
Green thumb?

Isabelle shrugs. Bobbi takes a gander at the wilted plant.

ISABELLE
It's new.

BOBBI
How do you like Boston?

ISABELLE
Crowded.

BOBBI
Yeah, I hate that.

ISABELLE
More to choose from. Variety.

Bobbi looks around again.

BOBBI
You must make a lot of money. To
afford this. What do you do?

Isabelle is tired of the chit-chat. She sits next to Bobbi.
Close. Bobbi sips wine, nervously.

ISABELLE
Is that really important?

Bobbi controls her trembling as best she can.

BOBBI
Ooh! Mystery woman.

ISABELLE
Aren't we all?

BOBBI
(too loud)
Come on! You know what I do!

ISABELLE
(leans close)
Are you sure you want to know?

This sends a shiver through Bobbi. She nods, courageously
holding her ground.

Isabelle kisses Bobbi. Bobbi surrenders immediately, kissing
back hungrily. Isabelle gives Bobbi's breast a squeeze.
Bobbi responds, fine-tuned, ready to go.

THE FLOOR

Isabelle places two wine glasses on the floor.

INT. ISABELLE'S BED - LATER

Bobbi lays cradled in Isabelle's arms. Both naked.

BOBBI
I've never felt so free. With men,
it's so...simple...quick.

Isabelle agrees.

BOBBI
God! You're so free.

Isabelle kisses Bobbi's neck.

BOBBI
(playful)
Ow!
(turns, faces Isabelle)
You wore me out.

They kiss good night. Bobbi wriggles out of Isabelle's arms,
rolls to her side of the bed and covers up.

Bobbi stares into the dark for a thoughtful moment.

BOBBI
(to herself)
I just want to be free.

Isabelle blows the candle out. She lays back, looks through
the sunroof at:

EXT. THREE-QUARTER MOON - NIGHT

INT. ISABELLE'S LOFT - LATER - NIGHT

Dark. Isabelle awakens with a start. Bobbi, out of bed and
dressed, jumps away. Isabelle, naked, sits up, one wrist
handcuffed to the bed frame.

BOBBI
Got you! Yes! Yes! Oh, man!

ISABELLE
I didn't know we were playing
games.

BOBBI
Yes! Man! This rules! There's a
reward for you! Ten grand!

Bobbi roots around in her purse.

ISABELLE
Remove these, Bobbi.

BOBBI
I can finally get out of this
fucking city. I'm going to Europe!

ISABELLE
I won't ask again.

BOBBI
Yeah, right.

Isabelle lights the candle. Bobbi finds prints in her purse.

BOBBI
I got this, on the internet.

Bobbi shoves the pictures at Isabelle.

BOBBI
It's the same coat you had on. I
know it is. You're busted.

ISABELLE
Again?

BOBBI
And, this!...that's you!

Bobbi has the picture showing half of Isabelle's face.

BOBBI
I know it is! You're going down.

Bobbi marches to the door, Isabelle watching calmly.

BOBBI
Get some clothes on. Where's your
fucking phone? God damn it!
No phone, no lights! Fuck! What
did you do, anyway? Why are they
after you?

Bobbi jerks back the curtains in front of the door -- it's
boarded up!

BOBBI
What the fuck! Jesus fucking
Christ! What is your deal?

ISABELLE
You're the one with 'the deal'.

Bobbi strides to the fire escape.

BOBBI
Yeah, well! Fucking weirdo! God!
I am so glad I found out the truth
about you!

She stops, her back to Isabelle.

BOBBI
I'm sorry. I just want to be able
to do something. Travel...

ISABELLE
Are you sure? There's a price to
pay for freedom.

Bobbi struggles with bitter guilt, then heads out.

BOBBI
I'm sorry. I'll be right....

The candle goes out. Bobbi freezes, rotates back.

The bed is empty. The handcuffs, secured but empty, turn in
the moonlight. Bobbi whirls for the fire exit - ISABELLE!!!

BOBBI
Jesus! Fuck! How the fuck...

Bobbi creeps backward under Isabelle's glower.

BOBBI
Izzy! I wasn't going to leave! I
swear! It's just a game! You
know? Just playing around...

Isabelle glides toward Bobbi, keeping their distance even.

ISABELLE
My. You're quite the dreamer.
Aren't you, though? Girly.

They pass through a beam of moonlight shining through the
sunroof. It's a cold, colorless light.

BOBBI
Izzy! Come on! You can do me.

ISABELLE
Good idea.

Bobbi backs into the bed, plops down.

BOBBI
Izzy! Don't be mad, baby. I like
you! A lot! It was just a game.
I leave, then come back. You're
all relieved... We do a little
master-servant thing. See?

Isabelle stands over Bobbi. Bobbi leans forward, mugging her
best puppy dog face.

BOBBI
Now, it's your turn.

Bobbi kisses Isabelle's stomach. Isabelle strokes Bobbi's
hair.

BOBBI
It'll be fun. I'll treat you good.

ISABELLE
No more games, Bobbi.

Isabelle grasps Bobbi's hair.

BOBBI
Wait!

Isabelle throws her back.

BOBBI
Izzy! Come on. Be nice. I was
nice!

ISABELLE
Would you like your dreams to come
true?

The question stops Bobbi cold. What does this mean?

BOBBI
What? Sure. Of course,
sweetheart. I know you can....

Isabelle pins Bobbi's wrist to the wrought iron frame.
Smoothly, Isabelle ratchets the cuff open, places Bobbi's
wrist in the cuff and locks it.

BOBBI
You've done this before, huh? I
knew it.

Isabelle runs her fingers over Bobbi's flat stomach, full
breasts, fine neck.

BOBBI
Ooh! That's it. You're so good to
me.

ISABELLE
It's a shame.

Bobbi gives up the act, locks eyes, terrified.

ISABELLE
You could have had so much.
Now...who knows?

Bobbi's eyes search.

BOBBI
What? What do you mean? What are
you talking about? Izzy!

Silly questions. Isabelle sits on Bobbi's stomach.

BOBBI
Please...let me go...I won't tell
anyone.

ISABELLE
No. You won't.

Isabelle bends to Bobbi's neck.

BOBBI
I swear! I won't tell....

She pulls Bobbi's head to one side.

BOBBI
Please! I swear! Isabelle! Oh,
please! I don't care what you did!

She kisses Bobbi's neck. Bobbi plays her last card.

BOBBI
(forced calm)
Izzy, come on. Stop! You got me
good! I'll be a good girl.

Bobbi strokes Isabelle's hair - a desperate gesture.

BOBBI
Oh, please! Izzy! I'll do
anything you want!
(gasps)
Oh, my God! What are you doing!
What the hell are you... That
hurts! That's not funny!

Bobbi flails her legs, but finds no leverage. She pounds
Isabelle's head and back. She tears Isabelle's hair out.

BOBBI
Izzy! Stop! What the fuck are
you...it was just a game! I'll do
anything! Anything you say! Come
on! I'll be good! I wasn't going
to the cops! I promise! I
promise! I'll be good! I'll be
good! You'll see! I'm sorry! Oh,
God! Please! Stop! Wait! I'm
sorr....

Isabelle clasps her hand over Bobbi's mouth.

The struggle continues. Bobbi's screams are muffled, her
legs flailing, her breath hissing between Isabelle's fingers.

Isabelle remains calm, like a cat crushing a deer's trachea.

Seconds pass. The girl's struggles are pure instinct. She
claws at her captor. She spits with such force it shoots
between Isabelle's fingers.

Isabelle continues. Her eyes calm, her breath even.

Bobbi's pleadings are muffled, her wide eyes lock on the
predator at her neck. She pounds Isabelle's back one last
time. It's a weak gesture. Her eyes roll wildly.

Now, losing consciousness, Bobbi waves her free hand through
the air, searching for a rope, or a weapon, or just to touch
anything besides the monster at her neck, before she dies.

The moans stop, the breaths come in staccato blasts through
the nose, shooting gobs of snot onto Isabelle's hand.

Bobbi stares into the dark with huge eyes. Eyes which no
longer reflect human thought - just terror.

The gasping breaths cease and Isabelle removes her hand from
Bobbi's mouth. Bobbi's face glistens with spit.

Isabelle sits up. Bobbi remains motionless.

INT. NICK'S APARTMENT - NIGHT

Nick starts the CD player. The Bartok drones. Nick
considers his discovery. He will tell no one. He sips wine,
pumps up the volume.

INT. ISABELLE'S LOFT - NIGHT

Isabelle drags Bobbi's body -- from warm candlelight into a
wall of darkness. They are swallowed.

INT. LAWRENCE'S APARTMENT - BRILLIANT MORNING

Lawrence lies dead on his couch, two punctures in his neck.

In front of Lawrence, the table. In front of the table, the
beer bottle lies on the floor.

Cop 1 kneels next to the beer bottle and marks the floor with
a grease pencil. In front of Cop 1, at the half-wall, Cop 2
interviews a distraught young man.

In the b.g., Cop 1 stands, looks at the Lawrence's body. He
covers the body. In the kitchen, a forensics team dusts for
prints.

In the hallway, cops keep a small crowd at bay.

INT. NICK'S OFFICE - DAY

Frank, Mark and Nick eat Chinese. Frank browses through Mr.
Goldstein's autopsy pics. Nick and Mark read the tabloids.
Mark holds one chopstick in each hand, shoveling noodles
pitchfork style.

FRANK
That makes two. Looks like she's
staying a while.

Nick shows the rags to Frank. One headline reads: 'BLOOD
SUCKING KILLER PROWLS BOSTON BY NIGHT'. Another reads: 'A
MONSTER STRIKES!'

FRANK
Where'd they get that shit?
Fucking nonsense. Get anything at
the hospital?

NICK
Yeah. Talked to a vascular
surgeon. Doctor Walter Norris.
Says you can't kill someone like
that. When you puncture the
carotid artery, blood goes
everywhere. Shoots out.

Frank's appetite wanes. Mark fumbles with his chopsticks.

NICK
It's under tremendous pressure.
Just shoots everywhere. Said he's
seen it during trauma surgery.
Motorcycle accident comes in.
Guy's totally mangled.

Frank puts his chopsticks down. Nick relishes his food.

NICK
Norris was assisting. The
surgeon's rooting around, taking
pieces of glass out. Big pieces -
shards. Nicks an artery. O.R. is
showered in blood. Streams of it,
shooting against the walls, all
over the doctors. Everywhere. Guy
makes it. Lucky.

Frank pushes his food away. Nick turns back to the tabloid.

FRANK
I see.

NICK
Anyway. Doctor Norris says you
couldn't kill someone by puncturing
the carotid artery. Not without
making a mess.

FRANK
What about a device? For draining
blood?

NICK
Oh, yeah. From a cadaver. From a
living person? No such thing.

Frank, now done with lunch, leans back, relaxes.

NICK
Listen to this.
(from tabloid)
'A killer who moves by night,
drinking the blood of her victims,
then becoming one with the
shadows'. Who writes this stuff?

MARK
(with full mouth)
Fuck.

The tabloid has a hokey drawing of a woman with long, sharp
canine teeth with the caption: WHAT KIND OF MONSTER IS SHE?
Nick, now thoughtful, wonders the same thing.

INT. HOLLY'S BEDROOM - NIGHT

Holly lies in bed. She hold a drink. There are two liquor
bottles and pills next to the bed.

She stares at the TV, lost in memory, her face scarred with
pain and regret. She pours a triple, downs it.

FLASHBACK -- INT. SNOW COVERED WINDSHIELD - NIGHT

A solid layer of snow. Wipers clear the snow. Each new
dappling cleared. Swipe after swipe.

INT. CAR - CONTINUOUS

Nick drives, Holly in the passenger seat, Jessica sleeps in
the back. She cradles a new doll. Her seat belt is on.

Nick checks out Holly's gorgeous legs. Too nice to resist,
he caresses her thigh. Holly catches her breath. She pulls
his hand under her skirt.

HOLLY
Bring your handcuffs, detective?

Despite being a homicide detective, she always manages to
embarrass him. He checks Jessica in the rear-view.

NICK
Shh! Jeez!

Nick returns both hands to the task of steering.

Holly pulls Nick's hand off the wheel and draws it to her
mouth. She sucks his middle finger.

Fairly turned on, Nick divides his attention between the
highway and his middle finger. Holly replaces Nick's hand on
her thigh. Nick checks on Jessica.

NICK
Holly! Shit.

HOLLY
Come on, officer. I'm in no
position to resist.

Holly pulls Nick's hand deep under her crumpled skirt and
spreads her legs.

HOLLY
You're so bad!

Nick loves it.

Enthralled by her passion, Nick forgets his driving. Lazily,
Holly lifts her eyelids and witnesses a horror.

HOLLY
Nick!

Nick looks up. A few feet away, a truck merges.

NICK
Jesus!

HOLLY
Watch out!

With both hands, Nick jerks the wheel. The car skids across
the highway. Oncoming traffic blast their horns.

An SUV strikes their car broadside, shattering the rear
window next to Jessica. The force is tremendous. Jessica
floats in a sea of broken glass.

They hit another car and spin in the opposite direction.
This impact slams Jessica toward the other side of the car
with the shattered glass following close behind her.

She hits the other side of the car. The debris catches up
and slams into her.

The car spins into oncoming traffic. Cars pile up.

RETURN TO SCENE

Numb, Holly stares, unable to cry anymore.

JESSICA (O.S.)
Mom?

Holly's eyes fill with terror.

JESSICA (O.S.)
Mom.

The unwelcome guest visits again. Bitterness and guilt stab
Holly. With no other defense available, she can only bury
her face in her hands and sob.

HOLLY
Go away! Go away. I'm sorry! I'm
sorry! I'm so sorry. I'm
sorry...I'm sorry...I'm sorry.

Jessica strokes Holly's hair with a bloodied hand. Holly
cringes, staring forward to avoid looking at:

Jessica is sitting in bed next to Holly, her body marred by
horrible wounds. She gazes lovingly at her mother.

JESSICA
What's wrong, mom?

Slowly, Holly turns to the girl. They gaze at each other.
The girl's eyes filled with a child's love, Holly's eyes
filled with horror.

Holly finds the resolve to deal with the hallucination.

HOLLY
Go away! Go away! I hate you! I
hate you! I fucking hate you!

Jessica shows deep compassion and tolerance. Holly gets out
of bed, stumbles, falls.

HOLLY
You fucking little bitch! I hate
your fucking guts!

She manages to stand, turns back to face Jessica. Jessica is
gone. Holly loses her balance and backpedals, hits the wall.

She leans against the wall and sobs.

HOLLY
Always my fault...never anybody
else...just me...

The emotion drains. Holly can barely keep her eyes open.
She has forgotten why she stands against the wall.

INT. RAT'S CAR - NIGHT

A miniature human skull with red glass eyes hangs from the
rear view mirror.

RAT, a greaseball, closes his door, reaches over and opens
the passenger door. Isabelle inspects the dingy car.

RAT
Come on, bitch! Get in. I ain't
got all night.

She gets in. Rat lunges at her, Isabelle slams him back.

RAT
All right. All right. We can get
to know each other.

ISABELLE
What's your greatest achievement?

RAT
What's my greatest achievement? I
don't know? What the fuck...

ISABELLE
What have you done with your life
that you're proud of?

RAT
I can fuck good. Are we going
to....

ISABELLE
Take it out.

RAT
What?

ISABELLE
Let's have a look. See if you're
worth the effort.

RAT
See if I'm... Okay. Want a look?

He unzips and pulls it out. He beams pride.

RAT
That worth it?

She isn't impressed.

RAT
This is quality stuff.

ISABELLE
Play with it.

This shocks even Rat, who has seen and done it all.

RAT
I'll let you take care of that.

He reaches for her breast. She grasps his hand. He tries to
break free, but cannot.

RAT
What the fuck?

RAT
(in pain)
Okay, okay! Shit! I wasn't going
to hurt you. Just wanted to...

She let's go. He massages his wrist.

RAT
Fuck! What's your problem?

ISABELLE
(glances at his crotch)
I'm not the one with the problem.

RAT
It'll grow, bitch. If you quit
hurting me. Fuck. You think it
won't?

She shrugs, and leaves.

RAT
Okay! Shit! Just...wait.

She stays. Rat considers the proposition.

RAT
I ain't a fag. You just going to
watch?

ISABELLE
At first.

He considers the deal. Embarrassed, he strokes himself.

RAT
Okay. All right. What the fuck?

Isabelle watches. The miniature skull with red eyes watches.
Rat attains a measure of success.

ISABELLE
There you go.

Still nervous, Rat snickers. He's starting to like it.
Isabelle kisses his neck, he gasps and speeds his motion.

RAT
Just wait. I'm going to do you
good. Ow! Take it easy, bitch!
I'm trying to get off, here. Oh,
yes! You fucking bitch!

Isabelle's sucks at his neck, Rat's pleasure increases. He
strokes himself with increasing ardor.

RAT
That's it. Oh, God! What the fuck
are you...

EXT. RAT'S CAR - CONTINUOUS

The driver's window, fogged up. A passing couple giggle at
the spectacle, and continue on their way.

INT. RAT'S CAR

Isabelle continues to suck at Rat's neck. Consciousness
fades as Rat nears his peak.

RAT
Oh, yeah...you're the best...you
bitch...oh, you fucking bitch...I'm
going to make you...
(fading)
I love you...I love you so
much...you bitch...you fucking
bitch...you fucking...

He comes.

RAT
Oh! Mommy!

EXT. RAT'S CAR - CONTINUOUS

Rat's left hand slams against the fogged window. It slides
down the glass leaving a beaded trail.

EXT. HALF MOON - NIGHT

INT. WINDOW SILL - NIGHT

Rat's miniature skull sits on the sill next to the hula doll.

INT. ISABELLE'S LOFT - CONTINUOUS

Isabelle looks up - the half moon can be seen through the
sunroof. She turns to the doll, touches its skirt.

The doll dances.

INT. RAT'S CAR - BRILLIANT MORNING

Music blares. Brilliant sunlight showers Rat, his mouth and
eyes open wide, two punctures in his neck.

A figure appears outside the driver's window and bends to see
into the car. Nick. He opens the door.

Nick glances at Rat's lap, fails to suppress a grin. He
reaches in, turns off the stereo. Bent over Rat's body, Nick
inspects the car. A collection of CD's, drug paraphernalia,
condoms.

Nick withdraws from the car but stops eye to eye with Rat.
Nick closes Rat's eyes, then examines the two punctures with
renewed curiosity. He bends close to Rat's neck.

Nick opens his mouth wide, bares his teeth and draws very
close to the punctures. To Nick, it seems quite possible to
bite someone's neck in this manner.

Satisfied, Nick withdraws. Rat's eyes have re-opened. Nick
closes them before leaving and closing the door.

Backlit by the sun, dust floats in the air.

EXT. RAT'S CAR - CONTINUOUS

Frank and Mark approach.

FRANK
Caught with his pecker out.

Intrigued, Mark checks the interior of the car.

MARK
What the fuck? Bad blow job?

The men leave Mark to his gawking.

FRANK
Beautiful morning, huh?

NICK
Yep.

MARK
Guys?

They turn back. Mark points to the building next to the car.

CASH MACHINE

The detectives consider the possibilities.

INT. POLICE VIDEO ROOM - DAY

Frank, Mark, and Nick review ATM video.

On the monitor Rat and Isabelle ENTER FRAME. Isabelle faces
the camera as she waits to be let into Rat's car. The VIDEO
FREEZES.

NICK
Get the best...

VIDEO ADVANCES BY FRAMES.

Mark works the computer. He isolates and digitally enlarges
Isabelle's image.

FRANK
Can you clear that up?

MARK
Yeah, hold on...

With aplomb, Mark enhances the image.

MARK
This software rocks.

After a few moments, Mark finishes, leans back with pride.

Although high contrast, blocked-up, and grainy black and
white, the image retains a general resemblance to Isabelle.

MARK
There. That's it.

Frank looks to Nick for his opinion.

NICK
Not a lot to go on.

Frank looks to Mark.

MARK
Let's go for it!

FRANK
I think so, too. It's time we move
on this.
(to Mark)
It's time you got out there.

NICK
You're letting him go out?

FRANK
Why not?

Nick keeps his attention on Frank.

FRANK
He's got to start sometime.

NICK
This woman is dangerous.

FRANK
Nick! She's never used a gun.

NICK
That doesn't mean she won't.

FRANK
Please.

MARK
I'll be fine....

NICK
(overlap, to Mark)
You don't know....

FRANK
He'll be fine.

Nick and Mark wait while Frank finds a diplomatic solution.

FRANK
He'll be in the van.

Mark can hardly accept that.

FRANK
(standing, to both)
Is that okay?

Neither man really likes it, but they shrug, not looking at
each other.

FRANK
Okay. Nick, will you put it
together?

Frank leaves. Mark and Nick inspect the wall.

INT. CAR - NIGHT

Nick drives, Holly in the passenger seat. Snow smatters the
windshield.

JESSICA (O.S.)
Mom?

HOLLY
Yes?

JESSICA (O.S.)
It's your fault.

Holly turns to face the back seat.

HOLLY
What?

Jessica is in the back seat. She finishes unbuckling her
seat belt, then looks up at Holly.

JESSICA
It's your fault, mom.

INT. HOLLY'S HOUSE - DAY

Holly is in bed. She wakes from a nightmare. She isn't sure
where she is.

Holly gropes her way down the stairs, goes into the kitchen.

She gets a bottle of liquor from the cabinet, pours a drink,
turns, leans against the counter, stares into drink.

She looks at the clock. Ten-thirty. After the requisite
waltz with guilt, Holly takes a sip.

She sees something in the bottom of the glass, lowers glass.

What she saw was not in the glass, but stands before her.

Jessica, horribly wounded, stands in front of Holly.

Holly, shocked as usual, drops her glass. It shatters.

JESSICA
What's wrong, mom?

Holly, alone in the kitchen, sobs into her hands.

INT. NICK'S CAR, PARKED - DAY

Nick is worried, tired, and confused. He sips coffee and
watches:

EXT. GOTHIC VINTAGE CLOTHES STORE - CONTINUOUS

INT. STORE - CONTINUOUS

LOUISE DONNER, fifties, has been worried for days. She
stands at the counter watching Nick in his car.

She goes to the window with a pen and pad.

Nick notices her and decides to leave. He drives away.

Louise checks Nick's license plate. They're police tags.

INT. NICK'S CAR, PARKED - NIGHT

Nick watches Isabelle emerge from the alley next to her
building. She heads up the block.

He gets out of his car, tightens his coat, follows her.

HOLLY'S BEDROOM - NIGHT

Holly sits in bed staring. She notices the TV, turns it off.

She empties a bottle into a glass and stares at the drink.
She cradles the empty bottle like a doll.

EXT. THE CRYPT - NIGHT

Nick stares at the club's entrance. After coming to terms
with his decision, he crosses the street.

INT. HOLLY'S BEDROOM - NIGHT

Holly, in bed. She puts the empty liquor bottle on the night
stand. It topples to the floor.

She pours the last two pills from a bottle onto the blanket.

She makes a grave decision. She opens a second bottle of
pills and empties them onto the blanket. She neatens the
pills into a pile.

INT. THE CRYPT - NIGHT

Loud music, bawdy dancing. Isabelle sits at the bar, her
beer untouched.

Nick watches Isabelle from the crowd. He is enchanted.

Nick sits next to Isabelle. She watches his every move.
Nick knows she watches him, but he stares straight ahead.
The bartender comes up and nods to Nick.

NICK
(points to the tap)
Pilsner.

Bartender nods and leaves.

Nick stares forward, Isabelle sizes him up. She recognizes
him, and finds him yummy.

ISABELLE
Hi.

NICK
Hi. How's it going?

ISABELLE
Meeting someone?

NICK
No. You?

ISABELLE
(refers to Nick's ring)
Your wife?

NICK
Oh, no. It's over. I just wear
this.

ISABELLE
What do you do?

NICK
I'm a detective.

THE MUSIC'S VOLUME DROPS.

ISABELLE
Really? That's interesting.

NICK
Homicide.

ISABELLE
The best kind.

This breaks the ice, they smile.

ISABELLE
Is that dangerous?

NICK
Depends on who I'm chasing.

Bartender serves, Nick pays, bartender leaves.

NICK
I'm sorry. I'm Nick.

THE MUSIC'S VOLUME DROPS

ISABELLE
Nicholas. A royal name. My name
is Isabelle.

NICK
Nice to meet you, Isabelle.

ISABELLE
Ever kill anyone?

Nick is amused. He knows better than to answer that.

NICK
Have you ever killed anyone?

Touche! She loves the game. She's in her element.

ISABELLE
I've known a lot of cops. Lawyers.
Good ones. I knew a lawyer, he
could get a jury to let anyone go.
Just about. Guilty or not. They
were always guilty.

This tenses Nick.

NICK
Some lawyers are good.

ISABELLE
Doesn't that bother you?

Yes, it bothers him.

NICK
It's due process. The system.

ISABELLE
To forgive the guilty?

Nick does his best to shrug casually.

ISABELLE
Even if they're a killer.

NICK
Even if they're a killer. What do
you do?

THE MUSIC'S VOLUME DROPS

ISABELLE
Oh. I'm guilty. As sin. I help
people change.

NICK
Really?

ISABELLE
A better life. To those with
courage.

NICK
It takes courage?

ISABELLE
All good things do.

NICK
You offer this to anyone?

ISABELLE
Why not?

THE MUSIC FADES

It's completely silent. Nick turns back to her and is taken
aback by her intense gaze. She leans close.

ISABELLE
Do you have regrets, Nicholas?

NICK
Everyone does.

ISABELLE
Are you willing to let go? Your
regrets? Your guilt? Your past.

He cannot hide. The guilt and pain show through.

ISABELLE
Perhaps, some crime?

His eyes flash.

ISABELLE
Some loss. A loss you feel
responsible for.

Nick tries to look away, but cannot.

ISABELLE
You can leave it behind.

NICK
You can do that?

ISABELLE
A new beginning.

NICK
You're good. That's a good pitch.

Isabelle stands, moves behind Nick, she bends close to his
ear, his neck.

ISABELLE
(whispers)
We're all going to die, Nicholas.
Yes? Nothing ventured, nothing
gained.

THE MUSIC CRASHES BACK TO FULL VOLUME, jolting Nick.
Disoriented, he turns to Isabelle. She's gone. Nick
searches. No sign of her.

Nick bolts for the front door.

EXT. THE CRYPT - MOMENTS LATER

Nick rushes out and scans. He sees Isabelle. She is well up
the block moving with liquid grace through the slush. He
goes after her.

Isabelle turns a corner and, from the shadows, looks to see
if Nick is following her. To her delight, he is. She waits
for him get closer, then moves on.

Nick turns the corner and sees Isabelle turning another
corner up the block. He waddles through the slush like a
duck. He gets to the next corner. She is well up the block,
gliding along like a ballet dancer.

She glances back to make sure she hasn't lost him. She moves
along the desolate street. A MAN jumps from an alley.

MAN
Hey, baby.

Isabelle hisses at him fiercely. He is so frightened, he
recoils, loses his footing and falls into a puddle.

Isabelle doesn't lose stride.

Nick sloshes his way up to the man.

NICK
You okay?

MAN
That bitch could hiss.

Nick hurries on.

INT. ISABELLE'S LOFT - MOMENTS LATER

Isabelle lights a candle. She stands in the window so that
she may be seen from the street.

EXT. STREET - MOMENTS LATER

Nick arrives below Isabelle's window and gazes up. She's a
beauty - bathed in warm candle light. She looks directly at
him. Nick ducks into the shadows. So does she.

She has a school girl's crush on him. He is infatuated.

INT. HOLLY'S BEDROOM - NIGHT

Holly, in a stupor, sits in bed. A few pills scattered on
the blanket, the second liquor bottle half empty.

JESSICA (O.S.)
Mom.

Holly, incoherent. Jessica strokes Holly's hair.

JESSICA (O.S.)
Mom.

Jessica sits in bed next to Holly, her wounds gone, happy,
healthy. Holly turns to Jessica.

For a long moment Holly does not recognize the girl. Then,
there is a joyful recognition.

Jessica's eyes reveal wisdom beyond her years. They fill
with compassion and understanding.

HOLLY
Jessica?

JESSICA
Hi, mommy.

HOLLY
It's really you?

JESSICA
I missed you.

HOLLY
I thought...

JESSICA
I'm okay. See?

Holly touches her daughter's face.

Jessica nods. Holly's eyes well. Jessica kisses her mother.

HOLLY
How have you been?

JESSICA
Okay.

HOLLY
Where have you been? I've
been...I've worried.

JESSICA
You shouldn't worry.

HOLLY
Jessica. I'm so sorry. I
wish...everyday, I wish...if I
could just go back...I'd be good,
I'd do better.

JESSICA
We can't go back, mom.

HOLLY
I would be better...I'd do
good...I'd be good...and you
wouldn't go away.

JESSICA
I never went away, mom. I've been
here. Waiting.

Jessica cleans Holly's face with the sheet. Holly searches
Jessica's face for forgiveness, mercy.

HOLLY
That night...all my fault...I'm
so...

JESSICA
It wasn't your fault, mom. You did
the best you could.

Having finally found forgiveness, Holly lets go of all the
pain and guilt held inside over the years.

HOLLY
Oh, Jessica! I'm so sorry! I
never forget. I never forgave
myself! I'm so sorry! I can't...
I wish I could go back! I'm
sorry... So sorry...

She sobs, burying her head in Jessica's lap. Jessica strokes
her hair.

JESSICA
It's so nice here.

HOLLY
(weaker)
I'm so sorry!

JESSICA
It's pretty. It's not scary, or
anything.

Holly raises her head, looks at Jessica.

HOLLY
Where? What are you talking...

JESSICA
Well, it is, at first. Just for a
bit. Like 'that'.

Jessica attempts to snap her fingers.

JESSICA
I still can't do it!

They giggle like little girls.

Holly gazes at her daughter lovingly. Her speech is failing.

HOLLY
It's so good to see you. You're so
pretty. My little girl. My
beautiful girl. I'm so tired.

JESSICA
It's time for bed.

HOLLY
Beautiful...

Jessica helps her mother lay down. She resists, it's futile.

HOLLY
But...it's not time...not yet. You
were always such a pretty girl...
Smart... You laughed...

Jessica shushes Holly, tucks her in, strokes her hair.
Jessica kisses Holly.

HOLLY
I want to stay...be with you. I
don't want to go. Not yet.

JESSICA
It's time. We'll be together
again.
(whispers)
It won't hurt anymore, mommy.

Jessica LEAVES FRAME.

The occurrences of Holly's life, now mundane, slip from her
memory. She loses her sense of self and beholds the Infinite
Light. She takes a sudden, sharp breath. A weak, beautiful
smile adorns her face.

HOLLY
(whispers, exultant)
Jessica!

Holly closes her eyes. Her expression melts, she exhales.

QUARTER MOON OVER BOSTON - NIGHT

Windblown snow on a bitter night.

INT. NICK'S KITCHEN - MORNING

Looking haggard, Nick downs the last of his coffee. He
writes a personal check.

On his way out, he stops by the phone, dials a pre-set
number. He gets the machine.

NICK
Hi Holly, it's me. I can't give
you the whole amount this month.
Sorry....

INT. HOLLY'S HOUSE - LIVING ROOM - CONTINUOUS

Nick's voice comes from the answering machine on the table.

POV GOES UP THE STAIRS

NICK
...but the car's giving me problems
again. Should trade it in. I'll
make it up to you. Promise.

HOLLY'S BEDROOM - CONTINUOUS

Holly's bed. Beside it, empty pill and liquor bottles.

NICK
I'll stop by today, probably late.

Holly, in bed, a peaceful look on her face. Her skin ashen,
her lips blue.

NICK
I'll try to make it a decent hour.
Don't know if I can. Try, though.
(pause)
I love you.

Nick hangs up. The machine stops.

INT. ZAG'S CLUB - NIGHT

The music roars, the dance floor crowded.

Kaslow looks at home. He raises his beer.

KASLOW
(softly)
I'm the sexiest man alive. Rock
and roll. You will never....

INT. SURVEILLANCE VAN - CONTINUOUS

INTERCUT RADIO BANTER AD LIB

Rachel and Mark listen to surveillance equipment.

KASLOW
....have better loving than this.
Oh, yes. Test, test. Check,
check.

Rachel keys a mic.

RACHEL
Good check. Who is this?
Rodriguez? I thought we were
working with Kaslow.

KASLOW
Ha, ha. Funny.

ZAG'S

Kaslow suppresses a grin, and returns to work.

INT. FRANK'S CAR

Frank finds the banter relaxing. He keys his mic.

FRANK
Nick?

INT. NICK'S CAR - NIGHT

NICK
Copy.

FRANK
Okay, everybody's live. People.
Welcome to our stakeout.

ZAG'S

Sexual energy pulses through the crowd. Kaslow enjoys the
scene, a curvaceous dancer's moves.

KASLOW
Damn. That is fine.

SURVEILLANCE VAN

RACHEL
That a man or a woman, Kaz?

KASLOW
Fuck you, Rachel.

RACHEL
(to Mark)
We dated a couple times.

Mark nods. He already figured that.

RACHEL
Have a hobby?

MARK
Not really.

RACHEL
Like movies?

MARK
Too stupid.

RACHEL
I like movies.

He nods and adjusts the equipment. She gives up.

GYRATING LEATHER-CLAD ASS

Kaslow's eyes follow the ass's every twitch.

ALLEY

Nick checks the fire exit door to Zag's. Locked. He pulls
his coat tight and sinks into the shadows.

FRANK'S CAR

Frank checks his watch, fights fatigue.

SURVEILLANCE VAN

Rachel, bored. Mark musters courage.

MARK
I study forensics.

She is genuinely impressed.

MARK
Most detectives, they don't know
shit about forensics. Nick knows
all that stuff. He uses it, too.
Gets results.

RACHEL
No shit?

To her delight, Mark comes out of his shell.

MARK
Tomasi's letting me hang around his
lab. I'm learning a lot. He's
really good.

RACHEL
No shit.

MARK
Yeah.

They connect. It's pretty sweet.

ZAG'S

Kaslow stares, eyes dull. He takes another look at the ATM
image of Isabelle, then scans the crowd. More than one woman
bears a resemblance to the poor photograph.

SURVEILLANCE VAN

KASLOW
Guys.

RACHEL
Go Kaz.

KASLOW
Get me out of here.

RACHEL
Copy.

Rachel preps to go in. Mark wishes he could go.

RACHEL
You'll get your chance.

FRANK'S CAR

Bored, Frank pulls a flask and has a drink.

ZAG'S

Rachel keeps watch.

ALLEY

Nick paces.

THE STREET

It's deserted except for a couple crossing the street.

SURVEILLANCE VAN

Kaslow and Mark wait. Something bothers Kaslow.

KASLOW
You like her?

MARK
Yeah.

Kaslow decides to be a man about it.

KASLOW
Cool.

ZAG'S

A few stragglers nurse their drinks. Rachel, bored.

FRANK'S CAR

FRANK
Okay, people. That's it. Pack it
up.

EXT. STREET NEAR ZAG'S - MOMENTS LATER

Nick pulls up to Frank's car.

NICK
See you in the morning.

FRANK
Okay.

Nick waves to Rachel as he drives past. She waves back.

SURVEILLANCE VAN

The van doors open. Kaslow and Mark get out and stretch.
Rachel approaches rubbing her ear, holding an earpiece.

RACHEL
I wish these fucking things fit.

Frank pulls up.

FRANK
Quiet night.

RACHEL
Yep.

FRANK
See you in the morning.

They wave and say good night. Frank drives away.

RACHEL
(to Mark)
Need a ride?

MARK
Sure. Thanks.

KASLOW
Who's taking the van back?

RACHEL
Could you?

Kaslow cannot compete with love. Rachel and Mark leave.

KASLOW
(to himself)
Sure.

He can't help it. He smiles.

INT. RACHEL'S CAR - NIGHT - LATER

Rachel drives. Mark looks half dead.

RACHEL
You'll get used to it. This one's
not too bad. Place closes at two.

MARK
How long you been doing this?

RACHEL
Six years. I got into it as soon
as I could. It's not for
everybody. Too much sleep
deprivation. Turns most people to
zombies. Not me. I love it.

MARK
Trying to tell me something?

She reassures him with a smile.

MARK
I know you guys don't want me in
the field.

She sighs. Hopes he takes this well.

RACHEL
Fresh meat makes the old dogs
nervous. Every time. Once the
shit hits...you either got it, or
you don't. It's all about trust.

MARK
You don't think I can cut it.

RACHEL
I don't know. Neither do you.
That's the point.

They drive in silence. They arrive at Mark's place.

RACHEL
It's just the way it is.

MARK
Thanks for the ride.

Mark opens his door, the interior light comes on. He leaves,
Rachel grabs him, pulls him back, kisses him.

RACHEL
See you tomorrow.

Mark's ego soothed, his heart soaring. He leaves.

EXT. HOLLY'S HOUSE - NIGHT

Nick finds it strange Holly has not picked up her mail.

INT. HOLLY'S HOUSE - MOMENTS LATER

With the mail in hand, Nick listens at the base of the
stairs.

He puts the mail down, gets a beer. He notices the coffee
machine left on. There is a burned crust in the pot.

NICK
Holly?

Nick goes back to the base of the stairs.

NICK
Holly?

Nick climbs the stairs.

HOLLY'S BEDROOM

Nick enters and freezes at the sight of Holly in bed.

HOLLY
Holly?

He rushes to her side, sees the empty liquor and pill
bottles, a few pills on the floor. He knows. He checks her
pulse at the neck. It's a formality.

Heartbroken she chose this way, but relieved her suffering
has ended, Nick strokes Holly's hair.

NICK
Oh, Holly!

Bitterness rises. Guilt entwines him. He lowers his head to
her hand and cries.

EXT. HOLLY'S HOUSE - LATER

Nick watches as Med Techs wheel Holly's covered body out on a
gurney, put it into the ambulance and drive away.

A cop guides Nick to his car, saying a few kind words.

LATER

Nick sits in his car staring at the house.

INT. NICK'S APARTMENT - NIGHT

Nick stands in the middle of the living room, unable to feel
anything, staring. He seems to have lost his sanity, except
for the ember in his eye, a spark of purpose and resolve.

THE DARK - SOUND OF LARGE STAINLESS STEEL DOORS SLAMMING

Florescent lights flicker to life and reveal:

A BANK OF STAINLESS STEEL CADAVER DRAWERS

INT. MORGUE - CONTINUOUS

Nick stares, not completely rational, alienated by his own
intentions.

Gradually, the drawers become fully lit. Nick continues to
stare, frozen. The drawers gleam.

He finally manages a step. Step by step, he approaches the
drawers. He stands next to a drawer, gazing at it, both
fascinated and repulsed by his intent.

His arm extends as a puppet's. He grasps the handle and
pulls the drawer open very slowly. Inch by inch.

He gazes at the contents, a look of purpose and uncertainty.

Nick stares into the drawer, momentarily unable to continue.
Tentatively, he reaches into the drawer.

Nick pulls the sheet back and gazes into the drawer.

He responds as if to a sound, glances around. He looks back
to into the drawer.

ANGLE ON: THE BODY OF MR. GOLDSTEIN IN THE DRAWER

Nick runs his bare fingers over the neck. He fingers the
punctures. The feel of the cadaver strengthens Nick's
resolve, clarifies his understanding, his motives.

One more flash of uncertainty, then sure knowledge, resolve.

Nick inserts his finger into one of the punctures. He draws
his hand to his face, stares at it. Both compelled and
repulsed, Nick smells his finger. The odor transforms him.
Assurance displaces fear.

A strange power surges in Nick. A weird sureness. Nick
touches his fingertip to his tongue.

His eyes lose focus, his jaw drops. Intoxicated, Nick grins.
A peculiar gesture. He must steady himself.

TOMASI (O.S.)
Nick?

Tomasi is there.

NICK
(shaken, embarrassed)
Tomasi.

TOMASI
You need something, my friend?

NICK
(wonders what Tomasi saw)
No. I just, I was just...

Tomasi eyes Nick.

NICK
It's a case...I'm working on.

They stare at each other. Nick flinches, making a beeline
for the door.

TOMASI
Nicky?

SOUND OF THE DOORS SLAMMING

INT. NICK'S OFFICE - EARLY MORNING

Looking haggard, Nick works. Frank enters.

NICK
Hey.

FRANK
Morning. Early start?

NICK
Yeah. Couldn't sleep.

FRANK
Yeah, Tomasi said you were in the
morgue early this morning.

NICK
Yeah. I wanted a look at
Goldstein...those punctures.

FRANK
Yeah, they're weird. Unusual.

NICK
Yep.

FRANK
Couldn't get what you need from the
autopsy pics?

NICK
Well, those are so bad. You know.

FRANK
Got a call from Missing Persons.

NICK
Really?

FRANK
A clerk reported her boss missing.
Louise Donner? She's a clerk at
The Gothic.

The words 'The Gothic' are an invisible clamp around Nick's
body. Frank notices.

NICK
Oh, yeah.

FRANK
It's one of the ones you....

NICK
Yeah. Went back a couple days ago.
Follow-up.

FRANK
Yeah, she mentioned that. Kind of
freaked her out that you sat in
your car and didn't come in.

They both chuckle, but Frank is watching closely.

FRANK
Well... This girl, Bobbi, been
missing for a few days.

NICK
(concerned)
Huh...

FRANK
Yeah. This Donner finds your card,
sees that your a detective, and
gets worried. So she calls. I
told her it was just a routine
investigation.

NICK
Yeah?

FRANK
Probably nothing. She probably
just took off for a couple days.

NICK
Yeah, probably.

FRANK
You don't know anything about it?

NICK
Course not.

Frank doesn't quite buy it and Nick knows it.

FRANK
Hmm. Yeah, okay. Thought I'd
mention it. You know?

Nick nods, leaning back in his chair casually.

FRANK
You going to be in shape for
tonight?

NICK
I'll be fine.

FRANK
Okay, pal.

Frank leaves. Nick weighs the consequences of his actions.

INT. THE CRYPT - NIGHT

The music roars, the crowd throbs. Kaslow enjoys a beer.
Rachel sits on the other side of the room.

Mark sits at the bar near the front door. Looking totally
out of place, he presses his earpiece, tries to hear.

INT. SURVEILLANCE VAN - CONTINUOUS

Frank takes a swig from his flask, offers it to Nick. Nick
declines, finding Frank's drinking on the job offensive.

FRANK
You need it.

Nick shakes his head.

FRANK
How you doing?

NICK
I'm okay.

FRANK
Wish you'd go home.

Nick shakes his head.

FRANK
Do you need help with the
arrangements?

NICK
No. Thanks.

FRANK
When's the funeral?

NICK
(not sure)
Sunday.

FRANK
Nick, go home.

NICK
It's better if I work. It wasn't a
surprise. You know that.

FRANK
She was doing better.

Nick doesn't respond. Frank keeps trying.

FRANK
I'll miss her. She was a wonderful
woman. Not many gals would put up
with this.

NICK
When we were together...I felt like
I had a reason... Jessica made me
feel like a king. I'd go
home...they'd be there. When I'd
think of them, it was good.
Because I knew I'd see them again.
Now, when I think of them...it's
just a memory. It's just me, now.
What will I have to show... When I
die?

Frank has turned away. He cannot respond.

NICK
If I could just go back. Not go
out in that snowstorm...

FRANK
Don't. Don't do that.
(beat)
Why don't you go home?

NICK
I'm going to get some air. Check
out the alley.

Nick leaves. Frank takes another hit.

INT. CRYPT - CONTINUOUS

Isabelle enters, makes her way into the club, passing Mark on
the way. She finds him attractive, notices his earpiece and
wonders why someone would wear such a thing. Next to Mark is
a hard-core club crawler with numerous ear piercings, making
Mark look innocuous. Isabelle lets it go.

EXT. ALLEY - THE CRYPT'S FIRE EXIT -CONTINUOUS

Nick checks the door. Locked. He speaks into a radio.

INTERCUT RADIO BANTER AD LIB

NICK
Frank, I'm in the alley. I'll hang
out here for a while.

FRANK
Okay, pal.

Nick slides into the shadows.

INT. CRYPT

Rachel catches sight of Isabelle. Rachel checks the ATM
photo. She looks back to the crowd. Rachel catches glimpses
of Isabelle through the crowd, but cannot be sure. She
raises her beer.

Kaslow watches a scantily clad dancer.

RACHEL
Kaz.

He raises his hand to his face.

KASLOW
Yo.

RACHEL
Stay sharp.

KASLOW
Got something?

RACHEL
Far end of the bar.

Kaslow scans the bar.

RACHEL
Leather jacket, black pants, dark
hair.

At the end of the bar, several people with dark hair dressed
in leather. Kaslow does his best.

INT. CRYPT

Mark overhears, gets pumped, flashing his eyes around.

RACHEL
Kaz. You got her?

KASLOW
Negative.

RACHEL
Kaz, you're as blind as a fucking
bat.

Kaslow searches. He catches sight of Isabelle, who has been
watching him search. They lock eyes.

KASLOW
Okay, okay. I got a target.

RACHEL
It's about time. Frank, you copy
this?

FRANK
How good a match do you have?

RACHEL
It's pretty good, Frank.

FRANK
Okay, Rachel. Just sit tight.
Nick, stay put.

Frank bolts out of the van.

Through the crowd, Isabelle watches Kaslow watch her.

Rachel catches glimpses of Isabelle.

RACHEL
Kaz. She knows we're on to her.

Kaslow and Rachel close on Isabelle.

EXT. FRONT DOOR

Frank takes a post and listens to his radio.

INT. CRYPT

Isabelle ducks into a doorway. Rachel spots her.

RACHEL
Okay, I got her. She's headed for
the bathrooms.

Kaslow meets Rachel at the doorway leading to the bathrooms.
They draw weapons. Kaslow checks it out - a shadowy hallway.

Rachel enters the hall, searches the Men's room, finds two
guys huffing a joint. She waves them out with her gun, they
leave passing Kaslow on the way out.

Rachel emerges from the bathroom and gives the 'all clear'.
They proceed to the next bathroom. Rachel enters. Kaslow
covers the hall. Rachel comes back out, shrugs.

They look down the hall. Poorly lit, empty kegs.

Mark fidgets, pressing his earpiece trying to hear.

INT. HALLWAY

Rachel and Kaslow head down the hall, approach a corner.

INT. END OF HALLWAY - NEXT TO FIRE ESCAPE

Isabelle, crouched behind boxes. She turns to the fire exit
behind her, it confuses her. It's a metal door. She turns
the doorknob. Locked. The emergency exit lever warns:
'EMERGENCY EXIT ONLY, ALARM WILL SOUND'.

ALLEY

Nick reaches for the fire exit doorknob, gun ready.

HALLWAY

Isabelle looks back at the approaching shadows and lunges for
the door and presses the lever, tripping A PIERCING ALARM.

The door flies open. Nick points his gun at Isabelle. They
recognize each other.

The door hits the wall and bounces back. Isabelle sees
Nick's earpiece. The door slams shut, SILENCING THE ALARM.

NICK
She's still inside! At the fire
exit!

Kaslow takes point, Rachel hangs back. Kaslow peeks around
the corner, sees the fire exit.

KASLOW
This is the Boston police! We just
want to talk to you. Come on out.

He waits. Isabelle waits. Rachel waits.

KASLOW
You're not in any trouble. Just
come out. Everything will be fine.
This isn't going to get you....

A case of bottled beer comes flying out from near the fire
exit and crashes into the wall. Kaslow and Rachel point
their guns at the shower of glass and foam. Kaslow flings
himself back around the corner.

Isabelle stands before him. In a flash, she grips his wrist,
wrenches his gun away, and points it at Kaslow.

Kaslow raises his hands. Rachel levels her gun at Isabelle.

KASLOW
Okay. Okay. Just take it....

ISABELLE
Drop your weapon.

RACHEL
We're Boston police! Drop the gun!

ISABELLE
Lower your weapon or I'll kill you
both.

KASLOW
Rach.

ISABELLE
You have three seconds.

KASLOW
Rach, she's going to shoot!

Rachel drops her gun.

RACHEL
Okay! Okay.

Isabelle slugs Kaslow, swoops down to retrieve Rachel's gun,
secures it as she rises, stands eye to eye with Rachel.
Kaslow hits the floor, unconscious - umph.

ISABELLE
Good girl.

Isabelle backs away, holding Rachel at gunpoint, arrives at
the entrance to the club.

ISABELLE
Stay here for...at least ten
seconds.

Isabelle leaves. Rachel attends to Kaslow, keys her mic.

RACHEL
Suspect is armed! She's heading
for the front door!

Rachel pulls a gun from Kaslow's ankle holster.

Isabelle makes her way through the crowd. Rachel goes to the
club entrance, sees that Isabelle has almost made it to the
front.

Frank enters the club and signals Mark. Mark stands ready.

Isabelle spots Mark. His nervousness gives him away. She
sees his earpiece. She makes her break.

Frank spots her and signals frantically for Mark to look
behind him. Mark turns in time to be struck by Isabelle as
she passes. While Mark falls, she removes his gun and
secures it.

Isabelle bolts for the door. Frank draws his weapon. Too
late. She knocks him over the railing into the crowd. Frank
fires a round into the ceiling. The crowd freaks.

Rachel runs back toward the fire exit, stopping for a second
to check Kaslow.

RACHEL
Be right back!

Isabelle zips out the door, Mark hot on her heels.

FRANK
Nick! She's gone out the front!

Nick takes off running.

EXT. CRYPT - FRONT DOOR

Mark runs after Isabelle.

MARK
She's headed toward Franklin!

EXT. ALLEY

Nick stops, turns around, and runs the opposite direction.

Rachel bursts out of the fire exit. The ALARM SPLITS THE
NIGHT. Rachel falls in, running behind Nick.

Frank crawls through the railing and fights his way through
the crowd to the door.

EXT. FRONT OF CRYPT

Frank runs up the street.

ALLEY OFF FRANKLIN

Isabelle runs into the alley, Mark on her heels.

Nick emerges from his alley in time to see Mark give chase
half a block up. Nick pursues, followed by Rachel.

ALLEY OFF FRANKLIN

Isabelle turns a corner and runs into a wire mesh fence. She
whirls around, pointing her gun. Mark turns the corner and
stops, two feet from Isabelle.

ISABELLE
Get back!

Mark backs around corner at gunpoint.

Nick sees them and slows, walking to cover the distance.
Rachel comes up behind Nick. Mark is calm, professional.

MARK
Okay. This is a bad situation.
Just stay calm. You're in good
shape. You know how to use one of
those, right?

Frank enters the alley. SOUND OF APPROACHING SIRENS

Mark backpedals, Isabelle keeps their distance even.

MARK
This isn't so bad, you know. All
they have you on is resisting
arrest.
(refers to gun)
Well, they're not going to like
that. But, who cares? This is
Boston. Everybody's got a gun.
We'll get you a lawyer, clear this
up.

ISABELLE
There's only one way out of this.

MARK
Now. Don't say that. There's
always options.

Nick and Rachel close behind Mark.

SOUND OF CLOSE SIRENS, CARS SCREECHING TO A STOP

MARK
Think about what you're doing.

Isabelle glances at Nick.

NICK
(sotto, pleads)
Put the gun down.

Rachel pulls up beside Nick, gun drawn.

RACHEL
Drop your weapon!

Frank closes, gun drawn and takes a post next to Nick.

FRANK
There's no way out. Drop the
weapon and surrender.

MARK
They're right. The best thing you
can do is to give up.

FRANK
Drop the weapon!

RACHEL
Put the gun down!

Frank takes aim. Nick turns to Frank.

NICK
Wait!

Isabelle eyes flash between Frank and Mark.

Rachel struggles for a clean shot. Mark is between her and
Isabelle.

NICK
Give her some time!

Cop cars screech to a stop at the entrance to the alley,
their headlights flood the alley.

Mark knocks a beer bottle over.

Frank raises his weapon to fire. Nick lurches.

NICK
Frank, no!

Nick strikes Frank's wrist, causing his shot to go wild.

Isabelle fires into Mark's chest.

Nick and Isabelle lock eyes. Isabelle bolts around the
corner.

Rachel fires just behind Isabelle.

Nick goes to the corner, gun ready. He rounds the corner.
An empty alley beyond the wire mesh fence. Nick goes up to
the fence, searches, Isabelle has disappeared.

Rachel at Mark's side. Cops run down the alley.

RACHEL
(into radio)
Officer down! Alley between
Franklin and Johnson!

Frank comes around the corner.

Frank lowers his weapon and stares, disbelieving, at Nick.

Rachel loosens Mark's shirt and feels under his flak vest.
Her hand comes out with no blood. She strokes Mark's face.

RACHEL
Okay, Mark. You're going to be
okay. You hear me? You're going
to be okay. Just hold on.

Mark moans. Rachel signals the approaching cops.

RACHEL
It's going to be okay. You'll be
fine. They're coming. Hold on.

The cops arrive and secure the area.

Frank eyes Nick.

EXT. STREET OUTSIDE THE CRYPT - LATER - NIGHT

Emergency vehicles clog the street. Kaslow, conscious, is
carted out by Med Techs.

TECH
You're going to be okay.

KASLOW
That bitch could hit.

The Med Techs stow Kaslow, shut the doors, drive away.

INT. ANOTHER AMBULANCE - CONTINUOUS

Med Techs attend to Mark, semi-conscious. The doors close,
the ambulance pulls away. Rachel follows.

Frank and Nick, nearby.

NICK
Meet you at the hospital.

FRANK
Ride with me.

Frank levels a serious look at Nick.

INT. FRANK'S CAR - LATER - NIGHT

Frank and Nick. Parked.

FRANK
How could you not tell me about
Holly? I never would have let you
work this crew. We're lucky Mark's
alive!

NICK
He shouldn't have been there in the
first place, Frank.

FRANK
(overlap)
Don't give me that shit! That's my
decision! Don't question my God
damn judgement! God damn it, Nick!

NICK
Mark had it under control.

FRANK
Yeah, well. I made a call, too.

NICK
There was no reason to fire. Not
in that situation.

FRANK
Don't question my judgement! I'm
not the one working a field
assignment under emotional duress.
I can't believe you didn't tell me!

Franks settles. He tempers this with respect for friendship:

FRANK
You can't sleep. You're drinking.

NICK
We all drink.

Franks gets the implication and forces himself to be calm.

FRANK
Don't go there, buddy. Don't make
this more than it already is. I'm
treating you fair. If you want to
start with shit like that...
You're on thin ice. Your
wife...Holly's been in bad shape
for long time. I've seen it
before. Okay? Shit...you think I
haven't? The way it is now,
nothing's really happened. That's
what I'm going to say.

They sit in silence and wind down.

FRANK
What time's the funeral?

NICK
I won't be there.

FRANK
What?

NICK
I can't. It's best if I just let
her go. I can't deal with
another...

Frank has cooled down. His voice is gentle.

FRANK
Get some rest. After you get back
to work, we'll put this behind us.

Nick manages eye contact and a friendly nod. He gets out.

INT. NICK'S APARTMENT - NIGHT

Nick sits at his computer. He pours the last of a bottle of
red wine.

He flips back and forth between the elevator cam and ATM
images of Isabelle. He stares at the images. His eyes are
hollow, but the desire for her shows through.

The Bartok drones. Nick flips back and forth.

INT. HOSPITAL ROOM - DAY

Mark rests in bed, flipping through soaps on TV. Nick sidles
in, scruffy, tired. Tension flares instantly.

NICK
Hi.
(no response)
How you doing?

MARK
(kills TV)
Two cracked ribs. It's nothing.

NICK
Does it hurt?

MARK
No. Thanks to Mr. Codeine.

Mark taps an IV drip.

MARK
And, whatever this is.

The joke is welcome relief, but that passes.

MARK
You made Frank miss?

NICK
It happened pretty fast. You were
talking her down.

MARK
Are you kidding? I was stalling
for time!

NICK
It's never clear what to do in
those situations.

Mark assesses Nick, the painkillers make him talk.

MARK
Is anything clear to you? These
days?

NICK
What do you mean by that?

MARK
I mean you're a drunk. You've been
acting weird. Everybody's talking.

Nick stares at the floor, too numb to respond. Mark finds
his state of mind repulsive.

MARK
I don't think you should have been
there. You've become a liability.

Nick keeps staring at the floor.

NICK
You get well.

Nick leaves.

EXT. ST. CHRISTOPHER'S CEMETARY - DAY

Nick stands at the edge of a cemetary buffeted by snow. He
gazes into the distance, wishing he could proceed, yet unable
to move.

He gazes at a family plot with two graves, one freshly dug.
Guilty, but unable to visit these graves, Nick simply stands
in the snow.

Finally, he gives up the effort, gets in his car and leaves.

Nick turns onto a busy street.

A gray sedan in the parking lot across the street pulls out
and follows Nick.

INT. FRANK'S OFFICE - MORNING

Frank works. SOUND OF A KNOCK. Frank looks up, sees Nick.
A barrier goes up.

FRANK
There's nothing I can do. IA
thinks you've mishandled evidence.

NICK
(to save face)
That's ridiculous.

FRANK
Well... It's been known to
happen.

NICK
You believe that I would....

FRANK
No. I didn't say that. I can't
say anymore. Sorry, but. They'll
let me know when...they have a
better idea. I'll give you a call.

Nick can only stare.

FRANK
That's all I can do. Go home.

Nick sees he is beat. He shuffles out.

INT. GROUP OFFICE - LATER

Nick gets a few things from his office, watched by Rachel,
Mark, and Kaslow. They eye him carefully. Nick glances at
them but can't take it. He leaves, disheartened.

INT. NICK'S CAR - NIGHT

Nick drives, the wipers whisking each smattering of snow.

He shivers and tightens his coat. He turns the heat on, cold
air. He turns the heat off and shivers.

Nick reaches back and roots around the back seat floor.
Jessica sits in the back seat. She watches Nick.

JESSICA
Cold?

Nick checks Jessica in the rear-view.

NICK
Fucking freezing. Honey. Is
daddy's scarf back there?

No response. Nick twists as much as possible in order to
look in the rear floor. He ignores the road.

JESSICA
Go to her.

NICK
What? Did you say something?

JESSICA
I love you.

NICK
Love you too, honey.

Nick finds the scarf. He locks eyes with Jessica.

JESSICA
Go to her, daddy.

INT. NICK'S CAR - NIGHT

Parked. Nick awakens with a start, exhausted. He checks the
back seat. Empty. He sits back, relaxes. He wears a scarf.

He stares at the layer of snow on the windshield.

He looks at his left hand atop the steering wheel. His
wedding band. The ring represents nothing, now.

Nick works the windshield wipers once. Across the street,
Isabelle's building looms.

Nick places the ring into a niche with some coins, but
misses. The ring rolls under the passenger seat.

Nick, entranced, stares at Isabelle's building, either
unaware the ring fell or unconcerned it fell.

EXT. STREET - MOMENTS LATER

Nick stands on the sidewalk, gazing at Isabelle's windows.
Fresh snow on his shoulders. Without taking his eyes off the
windows, Nick steps into the street.

A car screams past Nick, kicking up slush. Nick jumps back.

His mind now focused, Nick reconsiders his intentions.
Deciding to proceed, he steps into the street.

He crosses the street, goes into the alley.

Parked up the street, a gray sedan.

INT. GRAY SEDAN - CONTINUOUS

Frank watches with binoculars. He picks up a radio.

FRANK
Okay. He's in the alley. Stand
by.

EXT. ALLEY - CONTINUOUS

Nick jumps, grabbing the bottom rung of the fire escape
ladder. It comes screeching down.

EXT. BALCONY - MOMENTS LATER

Clumsily, Nick hauls himself onto the balcony. He opens the
window and climbs into Isabelle's loft.

INT. ISABELLE'S LOFT - CONTINUOUS

Nick draws his gun and drops it. It clanks loudly.

NICK
(whispers)
Shit!

He picks the gun up. He pulls a flashlight and turns it on -
facing him! He turns the light around and finally gets a
look at the apartment.

MOMENTS LATER

He touches the hula doll's skirt. She dances. He flips the
light switch. Nothing. No bulbs in the socket.

He checks the kitchen. Unused, bare, no food, no garbage.

Nick opens the bathroom door, goes in. No paper next to the
toilet. No cleaning supplies, cosmetics, aspirin, or towels.

The mirrored door above the sink is open a couple inches.
Nick goes to it, shines the light in without touching the
door. Four empty shelves.

Nick pulls back the doorway curtains. The door, boarded up.

He goes to the closet, opens it. The shape of a person
catches his eye. He nails it with the flashlight.

A full-length leather coat, on a hanger. Startled, Nick
thrusts his pistol at the coat.

He gathers his wits and inspects the coat. The label -
European, made in seventeen forty-five.

Nick leaves the closet, crosses the floor to the bed.

He inspects the handcuffs.

ISABELLE (O.S.)
You've come.

Nick whirls, his light hits the wall next to the bed.
Nothing. He flashes to the bed, nothing. He shines the
light into the large room - empty. He flashes the light back
to the wall next to the bed.

Isabelle stands there, smiling, very relaxed. She blocks the
light with her hand.

ISABELLE
It was just a matter of time.

NICK
I've come to arrest you.

ISABELLE
(chuckles)
I see.

NICK
Who are you?

ISABELLE
(re: light)
Do you mind?

She moves, gliding, to him. He lowers the light a bit.

ISABELLE
Just a woman. Looking for a man.
Common enough practice.

She's close enough. He raises his gun. She stops.

ISABELLE
And, who are you? Just a man? I
think not. Detective.
Investigating a string of murders.
Unusual killings. The papers say,
'A monster is loose'! A monster.

She circles her way to the bed. Meanders. Glides. Nick
parallels her. He ends up at the foot of the bed.

ISABELLE
A man. His marriage shattered.
His children?

Nick flares. Now at the head of the bed, she fingers the bed
frames's oak leaf pattern. Nick holds his gun on her.

ISABELLE
Gone. Tragic. How often it
happens. A sickness? No. Not so
much, anymore. An accident.

Nick's gun trembles. She approaches him, her fingers
skimming the leaf-patterned quilt.

ISABELLE
An accident you feel responsible
for. Yes?

Nick can only jab his gun at her.

NICK
(weak)
Stay back!

ISABELLE
How we do blame ourselves.

NICK
It wasn't my fault!

ISABELLE
Just so. And, your wife?

Nick's eyes well. Grief and guilt tense his body.

ISABELLE
I'm sorry. A mother losing her
child...

Nick lowers his gun, and flashlight, whimpers. He turns away
from her.

ISABELLE
And, now you're here. Why,
Nicholas? Tell me.

NICK
I don't know. I don't have...I
don't know.

ISABELLE
You have nothing to return to.
Even your professional life is
threatened. This isn't exactly
'police' business. Is it?

NICK
I came because...

ISABELLE
You know what I am.

He shrugs and nods. She touches his arm. She runs her
finger up his arm, through his hair, over his ear.

ISABELLE
You haven't stopped thinking of my
proposition. You wonder. Is it
possible? A new start? Can it be?

NICK
No...

ISABELLE
Yes!

She knows his motives better than he does. Nick cedes.

ISABELLE
I can give you that.

EXT. NEARBY STREET - CONTINUOUS

Several police cars parked.

INT. BASE OF STAIRCASE - CONTINUOUS

Mark, Rachel, and Kaslow dressed in SWAT gear, stand ready.
Tremulous, Mrs. Marcinka peeks at them through her door.

INT. ISABELLE'S LOFT - CONTINUOUS

Isabelle croons into Nick's ear.

ISABELLE
Let me do it for you. Give me the
chance.

She removes his scarf.

ISABELLE
You make things so difficult.

She drops the scarf on the bed. She kisses him.

Nick still considers his decision. He presses his gun into
Isabelle's side.

She kisses him again.

ISABELLE
Now is the time. A new life. We
were brought together. Nicholas!

Nick embraces Isabelle, kisses her hungrily. She pulls away.

ISABELLE
You have to be sure.

Nick thinks of what he has to return to. Nothing. He lowers
his gun.

She smiles, touches his chin and turns his head. He snaps
his head back, glares at her.

ISABELLE
It wasn't your fault.

At this, Nick's glare melts. A smile of relief flashes. He
can hardly believe it. She has removed much of his guilt.

She waits for him to make up his mind. Nick decides. She
turns his head again, he doesn't resist.

His hands, with the gun, slide up her back. A lover's touch.
He pulls her to his neck.

ISABELLE
(whispers)
Just a moment, now.

She bites his neck.

Nick gasps with pain and pleasure. He finds himself in an
alien world. Swimming in new sensations, new perceptions.
His pain and guilt are pulled from him. He holds on to them.

Isabelle drinks at his neck. She holds him, both lover and
attendant, keeping him from falling.

Nick snorts a drunken laugh. He embraces her.

FRANK
Nick?

Isabelle whirls.

Frank is next to the window. Frank sees the wounds on Nick's
neck. Nick seems intoxicated.

FRANK
Nick!
(to Isabelle)
Step away!

Isabelle lunges into the shadows. Nick blinds Frank with his
flashlight. Frank shields his eyes.

FRANK
Are you okay?

No response. Frank approaches, touches Nick.

FRANK
Nicky! My God!

Frank keeps an eye out for Isabelle.

FRANK
What the hell?

Frank shines a flashlight onto Nick's neck.

FRANK
Christ! Help's on the way, pal.

Nick presses his gun under Frank's chin.

NICK
It's too late, Frank.

Frank isn't threatened.

FRANK
Nick. You're hurt. Let me help.

NICK
Step back.

Frank chuckles - are you kidding?

NICK
Get back.

Nick pushes Frank back a couple steps.

FRANK
Nick! For Christ's sake.

NICK
I don't think I'll be....

FRANK
Just wait.

Frank raises a radio.

NICK
Put it down!

Frank raises his gun at Nick.

FRANK
I'll call them. Mark...Rachel.
Kaz. They're just downstairs.

NICK
No.

FRANK
This is good work, Nicky. You
found her.

Frank draws the radio to his mouth. Nick cocks his gun.

NICK
Frank...don't.

Frank cocks his gun, keys the radio.

FRANK
(into radio)
Okay guys....

SOUND OF A SHOT

Frank reels, but remains standing. Nick flashes the light to
Isabelle, who has just shot Frank.

Frank shoots Isabelle. She reels into the shadows.

Nick turns the light back to Frank.

Frank shoots Nick. Nick falls onto the bed.

Another SHOT. Frank has been hit again by Isabelle. Frank
falls. Isabelle staggers to Frank and takes his gun.

INT. MRS. MARCINKA'S LOFT - CONTINUOUS

Mrs. Marcinka jolts, dropping her teacup. She runs to the
door, opens it a crack, sees the SWAT team bolt up the stairs
with Mark bringing up the rear, limping.

INT. ISABELLE'S LOFT - CONTINUOUS

Isabelle stumbles to Nick, bends over him.

ISABELLE
Nick!

Nick stirs.

INT. HALLWAY OUTSIDE ISABELLE'S LOFT - CONTINUOUS

The SWAT team stands ready. Rachel inserts the key, turns,
tries the door. Won't budge.

ISABELLE'S LOFT

Isabelle drags Nick and Frank toward the fire escape.

HALLWAY

Kaslow unslings a shotgun and blasts the hinges.

Isabelle climbs out the window. She pulls Nick through the
window.

Kaslow slams himself against the door. It holds. Rachel
joins him. They slam the door. It holds.

EXT. FIRE ESCAPE BALCONY

With the men on her shoulders, Isabelle climbs the ladder.

HALLWAY

Kaslow takes aim with the shotgun. He blasts the door
several times.

One flight down the stairs, Mrs. Marcinka clasps her hands
over her ears and screams. She screams and screams.

Kaslow breaks down the shattered door.

ROOFTOP

Isabelle appears over the edge of the roof carrying the men
on her shoulders.

She flings Frank over the edge onto the roof, he hits hard.

Carefully, she lays Nick down. A light snow falls.

LOFT

The SWAT team spreads out, flashlight beams dance about.

ROOFTOP

Isabelle drags the unconscious men toward a small building at
the far edge of the roof. She is bleeding.

LOFT

Rachel flings the closet door open, sees the full-length coat
and fires a round into it, filling the closet with blue
smoke. Realizing she shot a coat, Rachel moves on.

The bathroom. Empty.

They search the rest of the loft. An easy task as it lacks
furnishings.

They look at open window by the fire escape.

BEHIND ROOFTOP BUILDING - EDGE OF ROOF

Isabelle deposits the men, then checks around the corner. No
one else on the roof. She rushes to Nick.

ISABELLE
Nicholas!

She wakes him. Nick, groggy.

He stirs. She pulls a gun from her belt and checks around
the corner. The SWAT team heads in her direction.

Kaslow indicates they spread out. They spread out.

Isabelle pulls a second gun, holds both guns ready.

LOFT

Mrs. Marcinka enters. She gasps at the damage done to her
beautiful door. She looks around with a flashlight.
Horrified, she takes stock of the loft.

Still no furniture! Handcuffs on the bed! No light bulbs!
What kind of girl is this?

BEHIND ROOFTOP BUILDING

Nick sits up, dazed.

ISABELLE
It's time, Nicholas!

NICK
What?

Nick follows her eyes to Frank, who stirs, moans.

Nick looks back to Isabelle, confused.

ISABELLE
Take him!

Horrified and delighted, he understands.

LOFT

Mrs. Marcinka wanders into the closet, sees the full-length
coat. Curious, she goes to it. Step by step.

Her light falls on the bullet hole. She inspects the fine
garment. She inserts her finger into the bullet hole.

A figure lurches from the shadows and jumps on Mrs. Marcinka.

Mrs. Marcinka reels out of the closet with Bobbi on her back.

Bobbi, wild, possessed, hungry. She bares her fangs, hisses,
and bites Mrs. Marcinka's neck.

BEHIND ROOFTOP BUILDING

Nick hovers over Frank. Frank's shirt is open, showing his
flak vest. Frank comes to, sees Nick.

FRANK
Nick?

Nick stares at Frank like a wild dog.

FRANK
What happened?

Frank notices how intensely Nick gazes at him.

FRANK
Nick?

LOFT

Mrs. Marcinka twirls and whirls, but cannot throw Bobbi. She
drops her flashlight. It rolls across the floor.

MRS. MARCINKA
Get off me! You crazy girl! Oh!
Ah! You awful girl! You awful
bitch! Ah! Ah! YOU BAD GIRL!!!

Bobbi drinks from Mrs. Marcinka's neck.

ROOF

Accurate shots from behind the building barely miss the Team.

KASLOW
Take cover!

They take cover. Kaslow returns fire, then Rachel fires.

Bullets punch holes into the building. Isabelle ducks.

ISABELLE
Nicholas! Do it!

The snow falls harder. Visibility down.

Mark stares, disbelieving, through his rifle's telescopic
sight.

MARK'S POV: Visibility blurred by snow. Isabelle encourages
Nick to bite Frank's neck. She gently pushes his head toward
Frank.

This can't be seen by Kaslow or Rachel.

KASLOW
(to Mark)
Take the shot?!

MARK
I can't! No visibility!

Kaslow checks Mark's position. He must have a shot!

KASLOW
Take the shot!

RACHEL
(to Kaslow)
Shut up!

BEHIND BUILDING

Nick bends over Frank.

FRANK
Nick! What are you doing? Nick...

Nick lowers to Frank's neck.

FRANK
Nicky! For God's sake!

Nick looks at the figure who points a rifle at his head.

Mark centers his cross hairs on Nick's head, tightens on the
trigger. He notices Nick looks up at something. Mark raises
his weapon to Isabelle. The expression on her face stops
him. It's motherly, caring. He points back to Nick. Nick,
helpless, looks to her as a child would.

Nick bites Frank's neck.

FRANK
Nick! Wait! For God's sake, Nick!
What are you...what are you doing?

Isabelle comes up, both guns blazing.

The SWAT team returns fire. Isabelle's shots come in quick
succession from one side of the building, then the other.

RACHEL
There's two shooters!

The building, peppered with fire, throws off chunks and
splinters.

The snow fall becomes more intense. Mark can barely make out
Nick at Frank's neck.

Shots from the other side of the building. Kaslow and Rachel
return fire. Mark stares at Nick. Rachel notices Mark,
frozen.

RACHEL
Mark!

Mark stares. Fire from another part of the building. Mark
snaps out of it and fires. His shots hit the building.

As soon as the Team returns fire, shots ring out from a
different part of the building. Immediately, shots come from
another part of the building. Accurate misses.

KASLOW
How many are there?!

With the last of his strength, Frank pushes Nick off.

Blood spurts onto Nick's face. Blood squirts onto the snow.

FRANK
Please...for God's sake...

NICK
Sorry, pal.

Nick returns to Frank's neck. Frank loses consciousness.

Isabelle strokes Nick's head and pulls two new guns.

ISABELLE'S LOFT - CONTINUOUS

Bobbi drinks at Mrs. Marcinka's neck while supporting Mrs.
Marcinka's limp body. Tango Macabre.

Bobbi finishes and pulls away from her neck.

She dances with Mrs. M's body in a spotlight provided by the
flashlight on the floor. Their shadows dance on the ceiling.
For accompaniment, Bobbi hums a tango.

She drops Mrs. Marcinka's body like a sack of potatoes.

Bobbi gazes about, confused as to her whereabouts. She
lurches to the window and watches the falling snowflakes.

She opens the window, takes a deep breath of crisp air.

BEHIND ROOFTOP BUILDING

Isabelle drops the two guns, empty. They steam in the snow.
She takes out one more gun, and goes to Nick.

Nick hovers over Frank's body.

Nick's eyes fire with new, strange power. Blood drips from
his lips. His breathing is ragged.

ISABELLE
(helping him stand)
Come on, baby.

The Team take new positions, closer. The snow falls hard.

KASLOW
Let's go!

The make a break. Now blizzard conditions.

BEHIND THE BUILDING

Isabelle stands Nick up, cleans his face.

Nick surveys his new world as a child. Without thinking, he
removes his coat and lets it drop in the snow.

ISABELLE
We have to go.

NICK
Where am I?

ISABELLE
A new world.

LEDGE - OUTSIDE ISABELLE'S LOFT

Bobbi climbs out. She surveys the city, indeed the world.
Enchanted, she watches the snow as a child would.

BOBBI
(whispers)
Pretty.

Bobbi steps off the ledge and FALLS OUT OF FRAME.

Below, cop cars have assembled, but Bobbi is not there.

ROOF

The Team moves in. Visibility almost nil.

BEHIND THE BUILDING

Isabelle drops her gun on the pile of steaming guns.

Nick and Isabelle step to the edge of the roof.

Unsure, Nick looks to Isabelle for reassurance.

She strokes his hair. He gazes at her, touching her as if
she were the first thing he had ever seen. He is enthralled.
She reaches into his pockets and pulls out the contents.

Keys and a few coins fall onto Nick's coat, half buried in
snow. The folding money blows away.

The Team closes on all sides of the building.

Isabelle takes Nick's hand.

Mark comes around one corner of the building, Rachel, the
other corner. Kaslow on the roof. Mark steps over Frank.

Nick and Isabelle, gone.

Kaslow jumps down. The Team searches. Nothing. Nobody.
Rachel unsure. Kaslow shocked, unable to act. Mark looks
over the ledge.

Rachel goes to Frank, checks him. Dead.

Below, three floors down, cop cars with flashers going. Cops
barely visible. Mark yells to the cops.

MARK
They jumped!

COP BELOW
What!

MARK
We lost them! They jumped! Do you
see them!

COP BELOW
Nobody down here, sir! Just us!

MARK
Check again!

COP BELOW
We're pretty damn sure, sir!

The Team looks at each other - only Mark shows confidence.

Mark looks out into the blizzard, knowing.

EXT. DUSK

NICK PRIESTLY, youth restored, eyes sharp. He takes in every
detail and finds the world a wondrous place.

EXT. ST. CHRISTOPHER'S CEMETARY - CONTINUOUS

Nick stands at the edge of the cemetary. A few snow flakes
fall.

Nick catches a snowflake on the back of a gloved hand, brings
it to his face. An exquisite sight. An enchanting creation.

Nick arrives at his family plot. He carries a red rose.

Holly's grave inscribed: Holly Priestly, [appropriate
years], Rest In Peace.

Next to Holly's grave, Jessica's.

Nick remembers the best times they shared. He brushes the
snow off the marble and runs his fingers along Holly's name.

The snow stops. The last light of day.

NICK
Rest in peace.

Nick places the rose between the grave stones.

Against the snow, in the failing light, the rose appears
black.

Nick stands. He looks up.

NEW MOON

The clouds break. The new moon rules over a crisp night.

Nick contemplates the moon. His eyes fill with wonder and
joy. He breathes in, inhaling the moon's power.

Nick ambles away.

INT. STAIRWELL LANDING - SPRING - DAY

Brilliant sunlight cascades onto the landing.

SOUND OF TWO PEOPLE CLIMBING THE STAIRS

Outside the window, a beautiful pastoral landscape, the first
day of spring.

Isabelle ENTERS FRAME, followed by Nick. Nick carries an oil
painting, 'The Cellist' by Doisneau. Isabelle carries the
potted plant, now thriving.

They both avoid a patch of sunlight on the landing. They
ascend the stairs and come to a numbered door.

Izzy inserts the key in the lock, unlocks the door, goes in
the room. Nick follows her.

STAIRWELL/HALLWAY POV:

Nicholas closes the door.









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