Crossing Jordan Virtual Season 7
“Cupid Schmoopid”
Written by
Madambeth and NCCJFAN
Art by
Harbor Runner
“Crossing Jordan Virtual Season 7” is a
fan-based effort not intended to infringe on the rights of Tailwind Productions,
NBC/Universal or any of the other copyright holders of “Crossing Jordan.”
No money was made from the writing or posting of any content.
DRAMATIS PERSONAE
Jordan Cavanaugh
Detective Woodrow “Woody” Hoyt
Garret Macy
Nigel Townsend
Kate Switzer
Mahesh “Bug” Vijayaraghavensatanaryanamurthy
Lily Lebowski
Phil Berman
Mr. Napoli
Radio Dispatcher
Young Man (Chris Whitlock)
Young Woman (Karen Sturgeon)
Man in Garden
Michael Eros
Man at Market Place Area
Girlfriend at Market Place Area
Woman at Market Place Area
Girl(Marissa) at Shady Retreat Apartments
Boy at Shady Retreat Apartments
SET LIST
INTERIORS
MORGUE
AUTOPSY TWO
AUTOPSY ONE
BREAKROOM
TRACE
BOSTON P.D.
BULLPEN
HALLWAY
SHADY RETREAT APARTMENTS
LOBBY
HALLWAY
ELEVATOR
MARISSA’S APARTMENT
CUPID’S APARTMENT
CUPID’S BASEMENT (SOUTH BOSTON)
WOODY’S APARTMENT
WOODY’S CAR
BERMAN’S CAR
STAKEOUT CAR
BUG AND LILY’S APARTMENT
MORGUE BUILDING ROOF
BOSTON UNIVERSITY MEDICAL CENTER
TWO BED WARD
ONE BED WARD
EXTERIORS
ROSLINDALE NEIGHBORHOOD
SIDEWALK
SHADY RETREAT APARTMENTS FRONT
BOSTON’S SUBWAY
MARKET PLACE AREA
COMMUNITY GARDEN
ENTRANCE
INSIDE GARDEN
BOSTON PARK
BOSTON CITY STREETS
TEASER
1. EXT. ROSLINDALE NEIGHBORHOOD-NIGHT, FEBRUARY 4th
A couple, mid 20s, walks out in a moderate sized group of moviegoers from a
small theatre. They walk a little ways then break off from the group and the
camera follows them. They lean into each other, arms around waists and head
down a side street. We are clearly watching them through someone else’s eyes.
The camera stops suddenly, maybe fifty yards from the couple, who are now laughing
loud enough to be heard. The young man, tall, dark haired, pushes his shorter,
blonde female companion against the wall of the building they are passing and
kisses her deeply. She responds in turn before pulling away and continuing down
the little street. As they begin to move, we follow them, still at a distance.
The girl laughs, leans in to kiss her partner again and, as the music continues
to play, we see her stop suddenly, grabbing the sides of her head as her mouth
opens in a scream we cannot hear over the music. The man falls to the ground
on his side, eyes open wide in horror. There is an arrow tip sticking out from
his chest.
2. INT. MORGUE AUTOPSY TWO –THE SAME NIGHT
The shocked face of the young man morphs into closed eyes, pale skin and naked
shoulders. He is now on the autopsy table, on his side. His clothes have been
cut off around the arrow still sticking out of his chest. The camera moves over
his body and we see WOODY looking at the back of the body where the fletching
is protruding. It is not feathers or plastic like some other arrows have; it
is a wooden heart painted red. NIGEL enters suddenly from the swinging doors
holding up a file.
He walks over to the table and hands WOODY the folder. He takes the file and sneezes into his own shoulder before opening it.
| WOODY |
| So this is Cupid’s second victim then? |
NIGEL
(nods) |
| ‘Fraid so mate. You’ve got yourself a proper serial whacko now. |
He smirks.
WOODY
(sneezes again) |
| Terrific. |
NIGEL winces at the sneeze and hands WOODY a tissue.
He sniffles and blows his nose hard.
NIGEL
(looking WOODY over) |
| Maybe you should… go home and rest for a bit? Nearly every cop in Boston is on the look out for your Cupid bloke and - |
WOODY cuts in, shaking his head as he tosses the tissue in the trash and heads for the doors.
The way he says this with a head cold makes NIGEL fight to hide a grin.
| WOODY (cont’d) |
| … I’m not letting the tabloids tickle this freak’s fancy anymore than they already have. |
He pushes the door back and looks at NIGEL, determined.
| WOODY (cont’d) |
| I’m gonna nail the bastard to the wall with one of his own damn arrows. |
WOODY pushes through the door and leaves it swinging behind him as NIGEL picks
up a supermarket tabloid from beside the trace computer. The camera zooms in
on the headline Killer Cupid Takes Aim at Lovers in Boston.
END OF TEASER
ACT ONE
3. INT. BOSTON P.D. BULLPEN - NEXT MORNING, 9:17 A.M.
The camera pans over several desks, some empty with phones ringing, others occupied
by detectives going through case files. WOODY sits at a desk, feet propped up
on the desktop and chugging a family sized bottle of V8 Fruit Fusion as he holds
the phone receiver to one ear with his free hand.
| WOODY |
| Yes Jordan, I’m fine to work, I told you last night, it’s just this cold still and I - |
He rolls his eyes, takes another long swig of the juice and uses the back of his hand to wipe his mouth.
| WOODY (cont’d) |
| - I know! (sneezes)… and as I said this morning, I could have just as easily been the one to sleep on the c- (groans) - you tryin’ to make me feel worse? |
He sets the bottle down and nods.
| WOODY (cont’d) |
| Yeah, it is working. God, you know, you make a terrible nurse to - |
His eyebrows shoot up as if JORDAN has made some suggestive remark.
| WOODY (cont’d) |
| Well, that sure as hell gives me a lot of incentive to get better fast…. |
He laughs nervously and rubs the back of his neck but stiffens when he sees PHIL BERMAN approaching his desk.
| WOODY (cont’d) |
| … uh… I’ve gotta go… yeah… later…. |
He hangs up and looks at the Polish sausage in a roll that BERMAN is holding.
| WOODY (cont’d) |
| Little early for that don’t you think Phil? |
He makes a face as he stands from his chair and rubs his nose.
BERMAN speaks around a mouthful of bun, sausage and mustard
WOODY grabs his wool trench coat and a scarf and starts for the door, shaking his head as BERMAN follows behind.
4. EXT. SHADY RETREAT APARTMENT COMPLEX - 9:53 A.M.
WOODY and BERMAN pull up in WOODY’S car to an apartment building. There is still police tape around two light posts a little ways down the sidewalk from them. BERMAN nods towards the police tape
| BERMAN |
| That where the first murder was? |
WOODY glances in the direction BERMAN’S looking but continues up the steps to the building.
He opens the door to go in but BERMAN cuts in ahead of him.
| WOODY (cont’d) |
| Please, after you |
The sarcasm of the statement goes over PHIL’S head as he returns the gesture with a non-committal grunt and scans the buzzers for the landlord’s unit.
| WOODY (cont’d) |
| The second crime scene is about two blocks north. |
BERMAN pushes a button beside the landlord’s name.
| BERMAN |
| Thinkin’ your bow totin’ fairy is a resident of the luxurious Shady Retreat Apartments? |
He rubs his chest and pops a handful of Tums in his mouth as the landlord buzzes them back, asking who it is.
| BERMAN (cont’d) |
| Boston P.D., Mr. Napoli. |
The door buzzes open and the two men enter the lobby just as MR.NAPOLI, the short, balding landlord, comes out of his apartment to meet them.
WOODY ignores BERMAN’S comment for the moment and offers MR. NAPOLI a thousand watt smile which can’t quite hide his watery eyes or red nose.
| WOODY |
| Sir, nice to see you again. |
MR. NAPOLI
(nervously) |
| Yeah… ah… I thought you folks were done investigating here. I mean, you talked to all the witnesses at the scene that night. |
WOODY sniffs back a sneeze and starts for the elevator doors.
| WOODY |
| Yes, sir, but being as the latest killing was only two blocks from your building, we’d like to talk to some of your tenants… see what they’ve been up to the last week or so… |
BERMAN scoffs and punches the “up” button.
| BERMAN |
| Yeah, like if they’ve taken up bow hunting… |
He mimics shooting a bow and arrow.
| BERMAN (cont’d) |
| … off season. |
BERMAN smirks as the doors open. PHIL and WOODY step in and turn to look at MR. NAPOLI, now nervously wringing his hands in front of him. The doors close.
WOODY shakes his head as he pulls out a little notepad. BERMAN does the same as the elevator starts to climb.
| WOODY |
| I’ll take even floors, you take odd. |
BERMAN
(facing WOODY) |
| Yeah whatever (Cheshire cat smile) So you and Cavanaugh… you doin’ anything… special for Valentine’s Day? |
When WOODY doesn’t immediately answer he continues.
| BERMAN (cont’d) |
| Oh, okay, I see how it is… I’m the precinct perv so I can’t just be interested in someone’s holiday plans without everyone thinkin’ I’m filin’ the details in the spank bank… sure, whatever. |
He feigns hurt feelings. WOODY feels some level of pity for the guy.
| WOODY |
| We’re ah… just going away for a four day weekend. |
He waves casually with his pen as the elevator stops.
| WOODY (cont’d) |
| Bed and Breakfast. |
BERMAN
(leers) |
| Nice, so you’ve got the edible panties stocked up for the trip then? Negligee? One piece? Two piece? Gauzy see-through or satin? Oooh… Garter belt, right? |
WOODY turns his head and stares at BERMAN before pointing towards the hallway as the elevator doors open with a ding.
| BERMAN |
| Doesn’t matter, I have a vivid imagination… |
BERMAN steps off and heads to the first door. WOODY sighs and shakes his head
as the doors close again. We hear him sneeze loudly before the car begins to climb.
5. INT. HALLWAY - CONTINUING
There is a wide angle shot, as we hear the ding of an elevator door opening and WOODY steps out on the 2nd floor. We see alternating shots of WOODY and BERMAN knocking on doors, the numbers indicating several different floors as the scene progresses. The song continues only interrupted by the ding of the elevator as the alternating shots continue: WOODY, smiling as a door is opened and talking animatedly with the tenant. BERMAN, leering at some attractive young woman who opens the door to him on one floor and smacks him in the face. WOODY, knocking on a door and then leaning against it with his eyes shut tiredly for a moment until it is opened and he all but falls into the apartment.
The music ends softly and we cut to:
6. EXT. SHADY RETREAT APARTMENT COMPLEX – 11:35 A.M.
WOODY is standing outside, his arms wrapped around his torso tightly to keep warm. He looks up when the door to the apartment building opens and BERMAN walks out. WOODY holds up his phone as BERMAN walks toward him.
WOODY
(angrily) |
| What the hell, man? I tried calling you three times in the past twenty minutes. I’m freezing my ass off out here. |
BERMAN rolls his eyes.
| BERMAN |
| What’s it matter? I didn’t find anyone worth taking in for questioning anyway… how’d you make out, Sneezy? |
WOODY shoots him a look and sniffles as they start towards WOODY’S car.
| WOODY |
| Nah, mostly elderly folks living on pension checks. (sneezes) One little old lady even needed me to open a jar of peanut butter. |
He rolls his eyes when BERMAN smiles and opens the passenger side door.
| WOODY (cont’d) |
| I think we can rule her out as strong enough to draw a bow back, much
less actually shoot an arrow at anything smaller than a barn. |
7. INT. WOODY’S CAR - CONTINUING
BERMAN
(shakes his head)
Two hours and we got squat.
He pauses as he buckles his seatbelt and WOODY climbs in and turns on the car.
| BERMAN (cont’d) |
| Thought I mighta had something with a kid on the third floor. |
He opens his notepad and reads.
| BERMAN (cont’d) |
| George Thurman… twenty-three. He was the only one who didn’t answer the door for questioning during the first murders.... |
WOODY nods, only half listening since the point PHIL announced they had squat.
He turns out onto the road.
BERMAN
(shakes his head) |
| Turns out he’s some kinda computer whiz… company he works for sends him all over the country to set up data bases for big companies. (jokingly) Real looker though, don’t ya think? |
PHIL holds up a business card of the kid’s and WOODY wipes his nose with the sleeve of his coat and scoffs.
| WOODY |
| Looks like he’s twelve…. Probably makes more in a month than we make in
a year. |
WOODY glances over at BERMAN, who shifts in his seat as if he’s offended.
| BERMAN |
| Hey, some of us have very lucrative hobbies. |
WOODY casts him a sidelong glance. He’s not going there.
| WOODY |
| Annnnd some of us should keep those hobbies to ourselves. |
WOODY smirks and then sneezes.
BERMAN
(shrugs) |
| Well, in any case, the kid checked out. Neighbors said it’s not unusual for him to be gone days at a time so…. |
WOODY
(turns at a light) |
| … back to square one. |
8. INT. MORGUE BREAK ROOM - NEXT MORNING
GARRET, LILY, BUG, MACY, NIGEL, KATE, WOODY, BERMAN and JORDAN are all standing around the break room getting coffee and doughnuts as they watch news coverage of the Cupid murders.
WOODY nods toward the TV and shakes his head.
| WOODY |
| This sicko is probably getting off an all the news coverage. |
He sniffles and looks like a scolded child when JORDAN hands him a tissue to blow his nose.
JORDAN is leaning against the doorframe, sipping her coffee.
| JORDAN |
| Who knows what the hell is going on in this freak’s head… probably
some guy with a major beef over getting the boot from his last
girlfriend. |
KATE chimes in as she sits down in one of the two chairs in the room and makes a face.
| KATE |
| Well, what kind of sense does that make? |
NIGEL answers with a mouthful of jelly doughnut.
NIGEL
(sweetly) |
| I beliebe our dear gurl wub mewely offering a bossible motibe, Kade. |
KATE holds a hand up to block her view of NIGEL’S chewed doughnut.
| KATE |
| First of all, I’m aware of the variety of doughnuts, no need to display
them in your mouth for me… |
NIGEL looks embarrassed and subtly wipes the corners of his mouth.
| KATE (cont’d) |
| … and second of all, if he’s pissed at being dumped by his girlfriend,
then why does he kill the men in the relationships? |
They all exchange glances. She has a point. Suddenly, BUG chimes in.
Glances are exchanged again. They hadn’t even entertained that possibility. GARRET looks as if he’s just considered this himself.
| GARRET |
| Bug’s right. Who’s to say it’s not a woman out there killing these men? |
| LILY |
| True… hell hath no fury…. |
She smiles sweetly at BUG who stuffs his hands in his pockets and visibly gulps.
GARRET, amused, sips his coffee and looks between LILY and BUG.
| GARRET |
| You better be taking her somewhere nice for Valentine’s Day, Bug. |
BUG cuts his eyes at LILY fearfully again.
| BUG |
| Yeah, wherever she wants. |
He laughs nervously and shakes his head.
| BUG (cont’d) |
| We’ve got reservations for dinner, Lily’s favorite sappy movie and most importantly, a sweet faced little girl who will be spending the night with her father. |
He smirks and takes a bite of his doughnut.
GARRET laughs softly and nods.
| GARRET |
| Good for you. How ‘bout the rest of you? |
He looks to WOODY and JORDAN as BERMAN perks up at the mention of his favorite gal’s holiday plans. KATE and NIGEL steal a glance at each other but quickly look away as if maybe they have something in the works.
| GARRET (cont’d) |
| You guys headed out of town? I know Jordan took off Thursday and Friday. |
WOODY shifts from foot to foot and glares at BERMAN
WOODY
(curtly) |
| Yeah, out of town. |
JORDAN rolls her eyes and lightly swats WOODY in the side.
| JORDAN |
| A B&B in Providence. |
BERMAN
(grinning) |
| Rhode Island? Lucky bastard |
He slaps WOODY on the back.
| BERMAN (cont’d) |
| Hoyt, gettin’ rode in Rhode Island… |
WOODY
(turns to JORDAN) |
| You see? This is why I said don’t tell him where we’re going. |
JORDAN tries not to laugh because it was, after all, pretty funny.
BERMAN waggles his eyebrows at JORDAN once. She returns it in an ‘in your dreams’ way.
| BERMAN |
| Well, much as it pains me to not be the one getting any motion in the Ocean State with Legs here… |
He points a thumb at JORDAN who puts a hand on WOODY’S arm to keep him from hurting BERMAN.
| BERMAN (cont’d) |
| … you won’t be makin’ it there until we catch this fruitcake. |
Everyone nods in agreement and looks back at the screen where a reporter is holding up the same tabloid cover NIGEL had earlier. The scene morphs from the cover being in the hand of the reporter to near the work station in AUTOPSY TWO later that day as KATE picks it up.
9. INT. AUTOPSY TWO – LATER THAT DAY
KATE flips through the magazine.
KATE
(glumly) |
| It never fails to amaze me the crap people will print to sell a paper. |
She tosses it back down and looks at NIGEL, who is catching up on autopsy reports at the computer.
NIGEL
(grins) |
| Yeah, but I bet you still read them while standing in line at the supermarket, don’t you? |
KATE frowns and opens her mouth to respond but then closes it and shrugs.
| KATE |
| Well… yeah, but I don’t actually pay for it. |
She groans and fights a smile when NIGEL’S grin grows wider.
| KATE (cont’d) |
| Ah, shut up. |
| NIGEL |
| Speaking of the supermarket… |
He looks around to make sure no one is in the room except for the two of them.
| NIGEL (cont’d) |
| …I picked up the finest Cornish game hens in Boston last night… a perfectly palatable one and a quarter pounds each. |
KATE smiles slightly. We’ve rarely seen her with her guard this low. Clearly, NIGEL is making an impression on her.
| KATE |
| I still think you’re crazy… (shakes her head) dinner on the roof in Boston
in February. |
NIGEL points at her with the tip of the pen he’s been tapping against the edge of the table.
| NIGEL |
| It’s supposed to be unseasonably warm Valentine’s night. (puts on a serious face) I know what it is: it’s the hens, isn’t it? |
KATE
(looking lost) |
| The hens? |
NIGEL
(nods solemnly) |
| You’re afraid they’re going to try and fly off the roof and we all
know hens can’t fly so- |
He’s beginning to smile. KATE snorts a laugh and grabs a report on her way to the door.
| KATE |
| Little chance of that, I’d think, since they’ll be headless, footless, featherless and marinated by then. |
NIGEL laughs and turns back to the computer.
KATE turns so that she is facing him and pushes the door open with her back.
She jokes but we can see somewhere deep down she’s really looking forward to
it. NIGEL steals one last glance after her before he returns to the reports
with a big smile on his face.
10. EXT. SHADY RETREAT APARTMENT COMPLEX - 9:08 p.m.
WOODY and BERMAN sit in an unmarked patrol car watching the building. WOODY
is slumped against the driver’s side window, an afghan around his shoulders
over top of his coat. He is staring at BERMAN with a horrified look on his face.
| BERMAN |
| What? Question too personal? |
WOODY shakes his head in disgust and moves over towards the driver’s door more closely.
He sighs the sigh of a long suffering man.
BERMAN
(brightly) |
| Cheer up, Hoyt, at least maybe after this you’ll get to go home and knock one out with the very same chick who shoulda’ been the mother of my children. |
WOODY ignores the last part of BERMAN’S comment.
| WOODY |
| I should probably be at home in bed - |
He puts up a finger to silence BERMAN before he can take that somewhere inappropriate.
| WOODY (cont’d) |
| - shut up - nursing what is arguably the worst cold of my entire
life and I’m stuck in a car… in the freezing cold with the captain of the
perverts. |
He waves a hand at BERMAN before he starts sneezing. BERMAN grabs a can of Lysol from the floor and sprays it at the air between them.
| BERMAN |
| Easy! Easy! I don’t want what you got for Valentine’s Day. |
WOODY coughs and waves a hand in front of his face at the Lysol smell.
WOODY
(choked out) |
| Big plans? |
BERMAN
(shrugs) |
| Same thing I do every Valentine’s night… |
He pauses and grins at WOODY before turning his eyes back to the neighborhood.
| BERMAN (cont’d) |
| … troll for lonely bar ass. |
WOODY
(disgusted look) |
| Sounds… classy. |
BERMAN
(shrugs and smiles) |
| You know how lonely women are on Valentine’s Day? |
He pauses and looks over at WOODY who looks lost.
| BERMAN (cont’d) |
| Yeah right, guy like you, has a chick like Cavanaugh, you don’t have to worry about knowing these kinda things… |
He stops and tosses his cigarette out the cracked window.
| BERMAN (cont’d) |
| … but for the average Joe, Valentine’s Day is a veritable all-you-can-eat buffet in bars across America. |
He spreads a hand through the air to emphasize his point.
WOODY suddenly looks like he feels sorry for the guy. He is quiet a long moment before he turns just his head to look at BERMAN.
WOODY
(hesitantly) |
| The… the inside of her elbow. |
BERMAN looks at him silently and then smiles.
| BERMAN |
| Really? That’s her hot button for kisses, huh…? |
He looks out the window again.
| BERMAN (cont’d) |
| I’ll have to remember that one. |
WOODY looks concerned for a moment but then just smiles and rolls his eyes as he goes back to looking out at the neighborhood as well.
11. INT. STAKEOUT CAR – 30 MINUTES LATER
WOODY is dozing lightly, his head back and mouth, slightly agape, as BERMAN puffs
on another cigarette. BERMAN tosses the butt, leans back, yawns and stretches
when there is a sudden crackle of the police scanner between them.
| RADIO DISPATCHER |
| Unit 4 respond to a 10-67. Poplar and Metropolitan. |
He grabs the radio handset
| BERMAN (cont’d) |
| Hoyt, wake up! |
He holds down the button on the side of the radio.
| BERMAN (cont’d) |
| Unit 4 responding. |
WOODY
(starts awake) |
| Huh? What? What is it? |
He blinks rapidly and starts pushing the blanket around him into the back seat. BERMAN grabs the blue light on the dash and sticks it out the window onto the roof.
| BERMAN |
| We got a call, someone calling for help at Poplar and Metropolitan. |
WOODY looks surprised and quickly starts the car.
| WOODY |
| That’s three blocks from here. |
BERMAN rolls his eyes.
| BERMAN |
| Wow, good looking and smart. Now I know why Cavanaugh’s with
you. |
WOODY flips on the siren and cuts quickly out onto the dark street as they race towards the scene.
12. EXT. STREET CORNER OF POPLAR AND METROPOLITAN - CONTINUING
WOODY’S car pulls to a screeching halt and he and BERMAN both rush from the vehicle.
A woman’s scream can be heard as the siren turns off with the car. WOODY rushes
to the side of a woman hunched over.
| WOODY |
| Ma’am! Ma’am, are you alright!? |
The YOUNG WOMAN screams again and grabs onto WOODY’S coat with bloody hands.
| YOUNG WOMAN |
| Help him! Someone, please! Oh my god, he’s going to die! John?!?..John!?
|
WOODY is looking stunned at the woman’s bloody red hands illuminated by the street lamp.
BERMAN
(voiceover)
(sharply) |
| Jesus H. Christ! |
WOODY bodily moves the woman aside and looks over at BERMAN, who is standing looking down at something at his feet.
He freezes beside BERMAN, also looking down now
| WOODY (cont’d) |
| … Mother of God. |
He grimaces as the camera moves off his face, down his and BERMAN’S bodies to
the upper body of a young man lying crumpled at their feet, an arrow sticking
out of his throat.
END OF ACT ONE
ACT TWO
13. INT. AUTOPSY ONE- 1:40 A.M.
The newest ‘Cupid’ victim lies on the autopsy table on his back. The arrow has
been removed from his throat but what remains is a mess where his neck used
to be. WOODY is leaning against an unused table, looking like hell. BERMAN walks
around in front of the table and looks at WOODY.
BERMAN raises an eyebrow.
| BERMAN |
| Why don’t you find somewhere to lie down? |
He pauses as he looks at the autopsy table WOODY is leaning on.
| BERMAN (cont’d) |
| Scratch that, you lie down there looking like you do and someone might try to cut you open. |
Camera moves to the table being used as NIGEL walks around to one side of it and smiles at WOODY.
| NIGEL |
| He’s got a point, mate… |
NIGEL pauses to snap a picture of the deceased’s face for identification, making sure to cover the throat with a sheet.
NIGEL (cont’d)
(playfully) |
| I’m sure Phil can handle this. Why don’t you go home, let Jordan baby you for a few hours? I’m sure that’d make you feel better. |
WOODY
(sighs) |
| What have you got so far Nige? |
Tiredly, he pushes away from the table and comes to stand next to NIGEL. Nigel uncovers the body enough that we can see a y-incision has already been made and the autopsy begun. NIGEL frowns and begins to poke around inside the young man’s chest.
| NIGEL |
| Not much… well except that we obviously know how he died… |
He gestures to the gaping wound in the victim’s neck.
| NIGEL (cont’d) |
| This Cupid is no dummy, I’m afraid… never gets close enough to the victims to leave any fingerprints, only attacks at night - |
BERMAN cuts in casually as he holds up a chest spreader and plays with it in the air for a moment.
| BERMAN |
| Doesn’t matter, even the best of them screw up eventually… |
NIGEL watches PHIL with a raised eyebrow.
| NIGEL |
| You break it, you buy it, friend. |
He smirks as BERMAN quickly puts the spreader back in its place.
| NIGEL (cont’d) |
| As I was saying, (cuts eyes to BERMAN) the only thing we’ve really got is the arrow. |
WOODY nods impatiently and rubs his neck.
| WOODY |
| Okay, great, so run the serial number on it and find out where they hell he bought it. |
NIGEL shakes his head, a little annoyed.
| NIGEL |
| Gee, why didn’t I think of that? |
He pauses and takes one of the arrows, holding it up between him and WOODY.
| NIGEL (cont’d) |
| Oh, wait, I already did. (thrusts arrow at WOODY) It doesn’t
have a serial number and I couldn’t find one that even closely resembles
it online, which means… |
WOODY
(groans) |
| … he probably made it himself. |
He walks back over to the table to continue the autopsy.
| NIGEL (cont’d) |
| I’ll run some tests on the wood used to make the arrow when I’m through here. |
He glances over at WOODY who looks like he’s ready to jump out of his skin, he’s so anxious to find this guy.
| NIGEL (cont’d) |
| There’s nothing more you can do until I test the arrow. Go home, Woody, get some sleep. |
| BERMAN |
| He’s right. Valentine’s Day is four days away; you don’t wanna be off your game with Cavanaugh. |
He smiles and pats WOODY on the back. For once WOODY doesn’t protest. He’s clearly ready to drop any second.
WOODY
(nods) |
| I’m keeping my cell on. I’ll be at my place. (points at NIGEL) If you
find anything, and I mean anything, I
want to know about it. |
NIGEL gives WOODY a half assed salute.
BERMAN and NIGEL both watch as WOODY leaves. BERMAN mumbles over NIGEL’S shoulder as he tries to continue with the autopsy
| BERMAN |
| He better take it easy on the personal vendetta before he blows a gasket. |
NIGEL replies, not taking his eyes off the body but shifting to be further away from BERMAN.
| NIGEL |
| He just wants to catch this bastard; we all do. |
There is a long few moments of tense silence on NIGEL’S part and ignorance on BERMAN’S part before NIGEL finally turns his head to look at the other man’s face. NIGEL dismisses him as if a teacher to a student.
| NIGEL |
| You’re excused, Phillip… |
BERMAN takes a moment to process this and then huffs.
NIGEL waits until BERMAN has cleared the autopsy room doors before he shakes his head and goes back to the slicing and dicing.
14. INT. TRACE EVIDENCE – THE NEXT MORNING, 10:13 A.M.
NIGEL and BUG are both crouched over microscopes quietly until NIGEL lifts his
head to roll his neck around once and loosen it up. He looks over at BUG and clears
his throat.
| NIGEL |
| So - you said in the break room the other day, you and Lily… (pause) …goin’ out for dinner for Valentine’s? (pauses when BUG grunts) Great, and the little one out for the night. |
BUG finally lifts his head and rolls his neck as well.
| BUG |
| Yeah. (pause) So far Jeffrey’s being pretty understanding… well… considering… (NIGEL nods) He hasn’t taken her overnight in almost a month because of work. Just comes to take her for the day on the weekends when he can. |
NIGEL leans back in his chair.
| NIGEL |
| Well, good then, it’ll be nice for him to spend a little time with Maddie. (Grinch-like grin) And of course there’s the added perk of you getting a night alone with her mum. |
BUG cuts his eyes at NIGEL and starts to say something stops and then starts again.
NIGEL replies brightly as he returns to looking in the microscope.
| NIGEL |
| Well then, dontcha want to hear what I’ve got planned for my
Valentine’s Day? |
BUG pulls back from the scope hesitantly.
| BUG |
| I don’t know… do I want to hear what you’ve got planned or is
this another sword swallowing and bubble bath kind of thing? |
NIGEL thinks to himself and smiles slightly.
| NIGEL |
| Yeah, something like that…. |
BUG
(snorts) |
| Then thanks, but no thanks. |
He stops and cocks his head to the side.
| BUG (cont’d) |
| Hey, Nigel… what does this look like to you? |
He motions to his microscope. NIGEL wheels his chair over and leans in to look at what is under BUG’S scope.
| NIGEL |
| Well now, how did you get here? |
He pauses and puts the view from the microscope up on the larger computer screen to look at.
| BUG (cont’d) |
| That’s wood from an Elderberry Red bush, isn’t it? |
NIGEL nods as he gets up and goes to a shelf.
| NIGEL |
| Right ho, Buggles… but what is it doing in an arrow made by our friend Cupid? |
NIGEL scans the shelves and grabs what he’s looking for: NIGEL’S Tree Hugger’s
Guide To The United States: Volume Two.
| BUG |
| Because Elderberry Red is not indigenous to the greater Boston area, right? |
NIGEL flips through the book.
He stops at a page and scans the information as he and BUG look at the picture of an Elderberry Red bush, the bright red berries catching their eyes immediately.
NIGEL continues scanning the page and begins reading aloud.
| NIGEL (cont’d) |
| Found across North America from Newfoundland to Alaska. It is restricted
to moist, cool sites in the south and extends southward into California
in the coastal mountains, into Arizona and New Mexico in the Rocky Mountains,
and into Georgia and Tennessee in the Appalachian highlands. |
BUG nods and looks back to the screen.
| BUG |
| Never reached into Boston but it could thrive in the area, if
grown in a semi-controlled environment… |
NIGEL
(nods) |
| … Like a community garden. |
BUG nods in agreement.
| BUG |
| Somewhere in the neighborhood where all of the killings are taking place perhaps? |
NIGEL smiles and opens his cell phone.
BUG
(puts up a hand) |
| What are you doing? |
| NIGEL |
| I’m calling Woody so he can go check it out - |
BUG shakes his head.
| BUG |
| Let him rest. I’ll go down there and take a look around. |
15. EXT. SHADY RETREAT APARTMENT COMPLEX-11:30 A.M.
BUG is walking up to a Medical Examiner SUV. He opens the door and climbs in.
LILY is sitting in the passenger seat looking at him expectantly. BUG holds out
a piece of paper to her.
| BUG |
| Landlord gave me a list of the closest community gardens. |
LILY
(takes the list) |
| How many? |
| BUG |
| Three. (smiles) Maybe we can even get done in time to grab some lunch before we head back. |
LILY smiles and leans over to kiss his cheek gently.
BUG nods and turns on the SUV before they head off onto the road. The SUV stops at a curb and BUG and LILY both exit the vehicle looking around.
16. EXT. COMMUNITY GARDEN ENTRANCE - CONTINUING
BUG
(skeptically) |
| This was the right address, right? |
LILY nods as she looks around and points towards a walled area.
| LILY |
| I think that’s it over there. |
BUG walks after her until they reach the wall. What they see is virtually an empty lot.
| BUG |
| Doesn’t look like much of a garden now. |
LILY swats his arm and gestures towards the lot.
| LILY |
| Of course not, it’s February… (rolls her eyes)… they’ll start
planting again in the spring. |
BUG points to a far wall inside the garden where a man in coveralls is crouched.
| BUG |
| Well, why don’t we ask this guy if he knows anything? |
17. EXT. COMMUNITY GARDEN - CONTINUING
LILY walks into the garden area with her hand up to get his attention.
| LILY |
| Sir! Sir! Maybe you could help us. |
The MAN stands from the ground where he is working on a hose hook up.
MAN
(smiling) |
| I don’t control who gets plots if that’s what you’re here for. I just keep it clean and fix what’s broken. |
LILY
(smiles back) |
| N… no actually, we’re from the Medical Examiner’s office. |
MAN
(looks between the two) |
| Uh huh. |
| BUG |
| We wondered if you might know if anyone grows elderberry red in this lot. |
The MAN sighs as he wipes dirt off of his hands and thinks a moment.
| MAN |
| Big leaves? Little red berries? Stinks like a mother when you snap a twig off it? |
BUG
(nods excitedly) |
| Yes, those are the ones. |
The MAN nods and goes back to his tool bag and grabs a clipboard sitting on
top of it.
| MAN |
| Yeah, we got that growin’ here. (beat) Not now, but there’s a young guy with a plot in here, grows it every spring. |
BUG looks at LILY. They may finally have this guy.
| BUG |
| You wouldn’t happen to know his name, would you? |
MAN
(shrugs) |
| Michael… something. |
He shrugs again and hands BUG the clipboard.
| MAN (cont’d) |
| Plot 9 from outer space, that’s what I call him anyway. (smiles) Kid’s into sci-fi. You know, one of them computer nerds. Makes a pretty penny working with ‘em though, so I guess you could say he’s doing pretty well. (pauses and smiles.) Better pay than a maintenance man anyway. |
He points to the clipboard.
| MAN (cont’d) |
| List of the plot owners’ names is on the next page there. |
BUG flips to the second page and scans the list.
| BUG |
| Eros… Michael Eros. (smiles at LILY) We got him. |
END OF ACT TWO
ACT THREE
18. EXT. MARKET PLACE AREA - 6 P.M., DUSK
We are once again seeing this scene through someone else’s eyes. People are
still milling around the marketplace, which is right outside one of Boston’s
T stops. Most are dressed in coats and scarves, looking over the remnants in
the market place and getting coffee from a kiosk in the middle of it. We see
a couple, who after looking over the late-season apples and squashes, make a
purchase and begin to walk away from the area, hand-in-hand. They just turn
the corner to go back to their car when the guy stops and clutches his left
shoulder with his right hand.
MAN
(obviously in pain) |
| What the hell? |
Blood is oozing out of his shoulder, and as he pulls his hand away from the wound, we see the shaft of an arrow has been shot clean through the tissue. The camera pans out to the fletching – which is another red heart. His face and the face of his companion pale as they realize that they are now the next victims of the Killer Cupid.
19. EXT. MARKET PLACE AREA – CONTINUING
There’s an ambulance on scene. The injured man is sitting in the back of it, being tended to by EMTs. His girlfriend is standing by his side, face still pale and she still looks unnerved. The area is roped off with yellow police tape. BERMAN is there talking to them. WOODY’S AWOL.
| BERMAN |
| So’s… did you see anything at all that you could tell me about? |
| GIRLFRIEND |
| He was shot from behind, Officer. |
It’s obvious by this time she’s probably repeated her story for BERMAN several times and she’s tired of him.
| BERMAN |
| I know… I know. (shifts on feet) But did you see anything unusual
… anybody… unusual? |
The MAN responds, sarcasm dripping from every word.
| MAN |
| You mean anyone with curly hair, dressed in a white sheet and diaper, with a bow and arrow? |
He winces as the EMTs put another stitch in his wound.
| MAN |
| Like my girlfriend said, Officer, I was hit from behind. I don’t exactly have eyes in the back of my head. |
BERMAN
(annoyingly persistent) |
| But at the market? Anybody stick out? |
GIRLFRIEND and MAN shake their heads. The girl is obviously more concerned with her injured man than anything Berman has to say.
BERMAN (cont’d)
(hands man a card) |
| Well… if you think of anything, let me know… ’kay? |
He starts to walk off and is stopped by a late fifty-ish something woman in a pea-green winter coat that just b-a-r-e-l-y buttons around her middle. She has on red gloves and a red hat that covers her dyed red curly hair. She wears short black boots and is carrying a huge shopping bag. Her eyes are accentuated by too much blue eye-shadow, but she’s batting her eyelashes at Berman in an obvious attempt to flirt and be a good citizen at the same time
The WOMAN places a hand on BERMAN’S arm.
| WOMAN |
| I saw something, Officer |
BERMAN gives her the once over – then replies under his breath.
| BERMAN |
| You would, wouldn’t you? |
He clears throat and regains what little composure he has.
| BERMAN (cont’d) |
| What did you see, ma’am? |
| WOMAN |
| Over there…. (points to the left) I was just gettin’ some coffee… I had just come from over there, at the beekeepers’ stand – honey, you know – and went to get a… a cup of coffee when this man runs past me… |
BERMAN
(under his breath) |
| Imagine… running away from you. (to woman) What makes you think he could be involved? |
| WOMAN |
| He was carrying a bag… not like a backpack… a bag… |
| BERMAN |
| Big enough to hold bows and arrows? |
The WOMAN nods.
BERMAN pulls his notepad back out of his back pocket and flips it open to take notes, fervently wishing Woody was healthy and he could do this.
| BERMAN (cont’d) |
| Did you see his face? Can you describe him? |
| WOMAN |
| He was short… about your height. |
| BERMAN |
| Ma’am, I’m five eleven. |
WOMAN
(gives him a look) |
| Like I said, he was short… and he had kinda curly hair. |
| BERMAN |
| Eyes? Any noticeable marks or tattoos? |
| WOMAN |
| I didn’t see his eyes… but there was this one thing… |
| WOMAN |
| He looked like he was about twelve years old. |
BERMAN lifts his head quickly, his face now serious.
20. EXT. BOSTON PARK - NIGHT
The street lights are on and we see a couple walking through a park area, holding
hands. The guy wraps one arm around the girl’s waist and pulls her closer, kissing
the top of her head. She says something funny and giggles while the guy laughs.
They stop for a minute and kiss briefly before continuing on their way. All
the while the camera is panning out and we see whose eyes we’re viewing this
little tableau through… it’s a man with curly hair standing behind some bushes,
staring over the tops of the hedge at the couple. With a jolt, we realize that
it’s the computer wizard. As the camera continues to pan back, we see that he’s
holding a bow and an arrow… with a heart fletching.
21. INT. WOODY’S APARTMENT – NIGHT
He’s on the bed and looks worse than shit. He’s drunk so much Tylenol Cold that
he’s kind of in and out of it. He’s stripped down to his t-shirt and boxers
and is sweating from the fever. We hear a jingle of keys, and the front door
opens. It’s JORDAN and she lets herself into WOODY’S apartment. You can tell
by her body language that by now they are both very comfortable coming in and
going out of each other’s homes. She puts her coat on the couch, but takes her
bag with her as she tiptoes to his bedroom, pausing at the door a second before
walking over the bed and gently sitting beside him. When she puts her hand on
his forehead to check his fever, WOODY’S eyes slowly open.
She pulls hand away from his forehead.
| JORDAN (cont’d) |
| You’re still hot. |
WOODY
(grinning weakly) |
| That’s what all the girls say. |
JORDAN is now rummaging through her bag and pulls out a thermometer.
| JORDAN |
| Ha, ha. Very funny. Open your mouth. |
WOODY
(eyeing the thermometer) |
| Do you know where that thing’s been? |
JORDAN holds the thermometer at his lips.
| JORDAN |
| In a box. In my purse. |
WOODY takes it out of her hand and looks at it even closer.
| WOODY |
| You sure it hasn’t been used at the morgue? |
JORDAN
(losing patience a little) |
| I’m sure. Open. Your. Mouth. |
WOODY does and she pops it under his tongue.
| JORDAN (cont’d) |
| Now close. |
WOODY obediently closes his mouth.
| JORDAN (cont’d) |
| Besides… what would we do with an oral thermometer at the morgue anyway? |
WOODY tries to talk with his lips closed and around the thermometer.
WOODY
(raises eyebrows suggestively) |
| Mmmthng ushhhhhhe frrrr ltsssss ffffff thnegggggs…. |
JORDAN
(rolling eyes) |
| I really don’t want to know what you just said. Besides, you’re sick. |
The thermometer beeps and she takes it out of his mouth to read it.
| JORDAN (cont’d) |
| 101.3. That’s it. You’re officially ill, Detective. Off duty and bed-bound
again. |
| WOODY |
| Bed-bound? Bound-to-the-bed? Like when you wore that costume… |
JORDAN
(now officially disgusted) |
| Woody. You. Are. Sick. |
She begins to feel his throat with her fingers, searching for possible swollen lymph glands.
| JORDAN (cont’d) |
| Besides, the only glands I’m touching right now are these. The rest… |
She glances towards his tented boxers.
| JORDAN (cont’d) |
| …can stand down. |
| WOODY |
| And here I was thinking you were sneaking in for a nooner. |
WOODY chuckles, but then the chuckles quickly turn into coughs. He rolls to his side to try to get them to stop. JORDAN gently rubs his back and reaches for his cell phone as it rings on the nightstand beside his bed.
JORDAN uses a firm voice, ready to tell the person on the other end to kiss off, WOODY’S sick.
| JORDAN |
| Detective Hoyt’s phone. |
JORDAN grits her teeth, but tries to be patient for WOODY’S sake.
JORDAN responds with a warning note in her voice. You know the one.
| BERMAN |
| Are you wearing the costume and everything? ‘Cause if you are, you know,
my throat’s hurtin’ a little bit and we could make it a threesome… you,
me… Hoyt… if he’s feeling up to it… Get it? Up to it? |
JORDAN
(gritting teeth) |
| Is there some reason you’re calling? |
| BERMAN |
| Just remember, mine are swimmers, Sweetheart. All of ‘em. No doubts. So if you ever…? |
JORDAN clears her throat loudly.
| BERMAN (cont’d) |
| Yeah. Well. Anyway. Tell Woody we got another Killer Cupid attack. |
JORDAN
(disgusted attitude gone) |
| When? Where? |
| BERMAN |
| At the market outside of the T. Only this time, ol’ Cupid got a little
sloppy. Not only did he nearly miss his intended target, we got a witness
that ID’d him. The computer guru who’s supposed to be away on business. |
JORDAN picks up a pad of paper and pen on WOODY’S nightstand and makes notes.
| BERMAN |
| Sure, I’m sure. What do you think I am? No, wait, don’t answer that. Just tell Woody that we know who it is… and, Doll Face…? |
JORDAN hears a beep. There’s another call coming in, so she interrupts his speech.
| JORDAN |
| Gotta go, Woody’s got another call comin’ through. |
| BERMAN |
| Well, just tell him… and maybe you and I can…? |
| JORDAN |
| I’ll be sure to tell him. |
She moves phone away from ear and clicks to next caller.
WOODY
(looks confused) |
| Tell me what? |
JORDAN holds a finger to lips to shush him while she answers the next call.
| JORDAN |
| Detective Hoyt’s phone. |
| JORDAN |
| Yeah, Bug. It’s me. |
She looks over at Woody who’s now out of it again from the Tylenol. She pulls the sheets and blankets up closer around him.
| JORDAN (cont’d) |
| It’s a long story. |
| JORDAN |
| He’s here… he’s just unconscious from the cold meds. |
BUG does not know quite what to do with that statement.
| BUG |
| Lily and I tracked down the Elderberry Red bush. |
JORDAN has not been in that loop at all – she’s completely confused.
| JORDAN |
| Elderberry Red bush? |
| BUG |
| You know, the wood that the arrow shaft was made out of…? (realizes she doesn’t know) Woody knows what I’m talking about. |
| BUG |
| It’s only grown one place in Boston. In a community garden- |
JORDAN
(interrupting) |
| But Berman just called. He knows who Cupid is. There’s a witness at his last attack… she ID’d him as the computer geek that lives in same building as the first victim. |
| BUG |
| Rat-face may have an ID, but I have a name. The plot that contains the Elderberry belongs to a guy named Michael Eros. My guess is it’s your computer whiz. |
JORDAN
(hand at temple, thinking hard) |
| Eros… Michael Eros… Eros… why is that name familiar? |
| BUG |
| Eros, Jordan. Think. Eros is the Roman god - |
JORDAN
(catching up with him) |
| - The god of lust and sexual desire. |
BUG
(waits a beat) |
| This is one sick bastard. |
22. INT. MARISSA’S APARTMENT – NIGHT
We see the same couple we saw before walking through the park – the one that Killer Cupid was stalking. We’re looking at them through the window of their apartment, over CUPID’S shoulder. This is CUPID’S own apartment building – the same one where the first victim was found.
BOY
(off-camera) |
| Starvin’. When’s the pizza going to get here? |
| GIRL |
| Should be ‘bout any minute. I called while you were in the shower. |
23. EXT. FRONT OF APARTMENT BUILDING – CONTINUING
The pizza guy pulls up in the car. As he goes up the sidewalk to the apartment
building, CUPID suddenly jumps out of the shadows and sacks him, knocking him
out. CUPID drags him off to the side of the building out of sight, dons the
guy’s uniform jacket and cap, grabs the pizza and makes his way into the building.
24. INT. OUTSIDE MARISSA’S APARTMENT – CONTINUING
CUPID knocks, and the GIRL answers the door.
GIRL doesn’t recognize CUPID as the computer guy that lives in the building.
CUPID unzips pizza hot bag and looks at the side of the box.
| GIRL |
| Thanks. I’ll get the money. |
25. INT. MARISSA’S APARTMENT - CONTINUING
CUPID steps inside the door and, as the GIRL turns to go get the money, CUPID sacks her from behind. She hits the floor with a thud.
The BOYFRIEND hears the commotion and comes from the other room, towel drying his hair.
He never gets to finish the sentence because CUPID sacks him, too.
END OF ACT THREE
ACT FOUR
26. INT. TRACE – NIGHT
WOODY, GARRET, BERMAN, JORDAN, and NIGEL are in trace discussing the Killer Cupid
case. Pictures and reports are scattered around, as well as pictures of the victims
and CUPID are up on the computer screens. If WOODY looked near death before, he
now officially looks like death warmed over.
| WOODY |
| Dere’s a connection somewhere. |
He sneezes and reaches for a tissue. He’s so congested his words aren’t coming out right.
| GARRET |
| We know that this Eros guy used the Elderberry wood on all three arrows. And the fletchings had hearts on them. |
| BERMAN |
| Real romantic guy. Makes you wonder what he does the morning after…? |
JORDAN raises one eyebrow to silence him. He doesn’t get it.
| BERMAN (cont’d) |
| I mean, if this is his idea of foreplay. |
NIGEL
(to Woody) |
| You don’t think they’re random killings? |
| WOODY |
| Doh. Dere too well thoud out. |
JORDAN crosses the room to him and hands him another tissue, reaching up to feel his forehead at the same time.
| JORDAN |
| Shouldn’t you be home in bed? |
BERMAN opens his mouth for a smart remark, but is cut off by Woody.
| WOODY |
| Dime dine… Dust condested. |
| NIGEL |
| And contagious, too, no doubt. |
He looks over the reports and the victims.
| NIGEL (cont’d) |
| But I do think Woodrow is right. Our Cupid knew exactly when to strike his victims… when the couples would be together… and how to get away without being spotted. So he must not only know the area he has been skulking in, he must also be very comfortable with it. |
| GARRET |
| And so must the victims. |
| BERMAN |
| Which means, homeboy here- |
He points to the image of CUPID from the business card in the opening, now scanned onto the computer screen in front of them.
| BERMAN (cont’d) |
| - is stalking people in the area of his building and making them his next victims. |
| GARRET |
| Which means we need to get into Michael Eros’ or George Thurman… whatever his name is’…apartment. If he is stalking another couple, we may find evidence to let us know where he is… |
| WOODY |
| And who’s dis next dictim. (blows nose). I’ll det a dearch warrant. |
| BERMAN |
| Whoa, there, big man. Gotcha covered on this one. I don’t think you need to be goin’ anywhere today. Least not with me in my car. Take Legs’ advice (thumbs towards JORDAN) and go back home and go to bed. If you’re lucky she’ll show up in a little while to play Naughty Nurse again. |
GARRET rolls eyes at BERMAN’S statement.
| GARRET |
| As much as it pains me to agree with him, he’s right, Woody. Go home. Get some rest. I’ll go with Phil here and search the apartment. If we find anything, we’ll give you a call. |
WOODY looks slightly defiant at first, but visibly cringes and backs down as he realizes that no one is going to let him go anywhere but home in his current condition.
27. INT. CUPID’S APARTMENT – LATER THAT NIGHT
It’s obvious that GARRET and BERMAN have been here a while. It’s tossed pretty
well by now.
| BERMAN |
| We got nada. This guy’s a boy scout. |
GARRET is looking at the walls of the apartment. There are diplomas and certificates of recommendations and achievements.
| GARRET |
| Seems that way, but if nothing else, my job has taught me one thing, Phil. |
BERMAN is still tossing out drawers and rummaging through closets.
GARRET’S gaze is now fixed on a bookcase and he looks over the spines of the books.
| GARRET |
| Everybody has a dark side… |
BERMAN
(glances over at GARRET) |
| Just like on Star Wars, huh? |
| GARRET |
| Something like that. |
He pauses and pulls one of the books out.
| GARRET (cont’d) |
| Seems like ol’ Cupid is a little on the sentimental side. |
BERMAN comes over to where GARRET is.
| BERMAN |
| What do we have here? |
| GARRET |
| Cupid’s high school yearbook. |
| BERMAN |
| So how many times does ol’ Cupid make an appearance there, Doc? |
GARRET is now thumbing through and stops on one page.
| GARRET |
| Not often, but this one’s enough. |
He turns the book to let Berman look at the page.
| BERMAN |
| Archery team, huh? What a coincidence. |
| GARRET |
| And he was captain. |
Both men look at each other and smile.
| BERMAN |
| This is good… real good. Now if we could just find something else. I mean, the guy was on the archery team. Team captain, for Christ’s sake, but that doesn’t link him to any of the victims. |
GARRET is now looking through another book, this one a photo album.
BERMAN looks at what GARRET is holding out.
The camera pans back to show various snap shots of the victims.
| BERMAN (cont’d) |
| The man’s an archer and a stalker. |
| GARRET |
| A killer, to be more exact. |
Continues rifling through the photos.
| BERMAN (cont’d) |
| Oh, Christ…. |
BERMAN
(holding one photo) |
| This chick… she’s the one Woody and I talked to after the first murder… in this building…. |
| GARRET |
| And she and her boyfriend haven’t been…? |
| BERMAN |
| No. That means that … |
He swallows hard and reaches for his Nextel.
| BERMAN (cont’d) |
| … they could be the next victims. |
28. INT. BASEMENT - NIGHT
The basement is dark and dank, decorated with cheesy Valentine’s Day decorations:
hearts and Cupids. It’s a sea of red and pink. In the middle of the basement is
a heart-shaped bed with the GIRL from the pizza scene in the middle of it. There
are cloth strips that bind her hands and feet. The BOY from the scene is sitting
on the floor with his hands chained to the wall, a gag in his mouth. Soft jazz
music is playing from an old radio. The camera pans to the side of the basement
where we see CUPID slowly descending the steps, holding his bow and arrow. He
walks from the stairs over to the bed where the GIRL is. CUPID pauses and looks
her over.
MARISSA, obviously fearful and panicky, doesn’t respond. CUPID keeps his voice low and just slightly frightening.
| CUPID (cont’d) |
| You don’t know me, do you? |
MARISSA, still frightened, shakes her head.
| CUPID |
| That’s too bad. Because I know you. |
MARISSA shows a slight flash of recognition across her face.
| MARISSA |
| You … you… live in my building. |
CUPID smiles – the kind that makes you just a little nervous – and sits down on the side of the bed facing MARISSA. He lays his bow and arrow to the side.
| CUPID |
| Right. Good. I’ve been watching you for a while now…. |
MARISSA is now really on the border of freaking out, but trying to keep her cool.
CUPID
(chuckles slightly) |
| Isn’t it obvious? |
The BOY is on the floor in chains is making efforts to get loose. CUPID shoots him a look.
| CUPID (cont’d) |
| Better tell you friend there to quiet down. |
MARISSA gathers courage, looking from her boyfriend back to CUPID.
| MARISSA |
| If… if you love me, then let us go. |
CUPID
(another chuckle) |
| Let you go? After I’ve been patiently watching and waiting for just the right opportunity to talk to you? Ask you out? And just when I get up the courage to do it, you start dating another man. |
He moves closer to her and continues somewhat menacingly.
| CUPID (cont’d) |
| Do you know what that did to me? Do you? |
MARISSA shakes head no and tries to move away from CUPID. CUPID moves closer and somewhat roughly turns her face so she has to look at him. Then he continues somewhat agitatedly.
| CUPID (cont’d) |
| It made me start hurtin’ others. Other people. Other couples. Because I couldn’t hurt you. I wanted to… hurt you. But I couldn’t. So I started killing those other men… If I couldn’t have you… then those other couples didn’t deserve to be together, either. |
| MARISSA |
| You shot them with your bow and arrow. |
CUPID
(nodding) |
| So they couldn’t be together. And now - now the police have caught on, but that’s okay. See, we’re going to take care of him (indicates BOY) and we’re going to run away together… far away. So far away that the police won’t find us. |
CUPID takes the bow and arrow and slides off the bed, beginning to make his way over to the BOY chained up to the wall.
29. INT. TRACE – LATE NIGHT
GARRET and BERMAN have returned with the yearbook and photos. JORDAN, BERMAN,
WOODY and BUG are working frantically to try to find this young woman and her
boyfriend. WOODY scans through his notes to find GIRL’S contact information. He’s
still really, really sick and congested.
| WOODY |
| Dit’s here. Somewhere. |
BERMAN takes WOODY’S notes out of his hands and begins rifling through them to find the phone numbers.
| BERMAN |
| What did I tell you, Ace? You need to be home in bed with that cold. |
JORDAN
(working at a computer) |
| As much as I hate to admit it, Phil’s right. |
BERMAN
(perks up) |
| I am? Really? |
JORDAN
(cuts him off at the knees) |
| Just about Woody needin’ to be at home in bed. |
BERMAN
(grumbling under his breath) |
| Yeah, yeah. (stops going through notes) Got it. Here’s her cell number. You try it. (hands it to Woody) I’m going to try her apartment landline. |
BERMAN and WOODY both spring into action, calling both numbers.
30. INT. CUPID’S BASEMENT - CONTINUING
CUPID
(still menacing) |
| See… all we have to do is off your boyfriend over there. |
MARISSA
(nearing full-blown panic) |
| No… nooooooooo! |
| CUPID |
| And we can be together… forever. Don’t you get it? |
MARISSA
(clutching at straws) |
| But - but I don’t love you! |
CUPID hooks his thumbs towards chained-up boyfriend.
| CUPID |
| You didn’t love him either, to begin with. |
CUPID takes the bow and arrow and moves towards the BOY.
31. INT. TRACE - CONTINUING
WOODY has let MARRISSA’S cell phone ring and ring and ring – impatience is showing across his I-still-don’t-feel-good face.
BERMAN is equally pissed off and impatient, for once not being a smart-ass and is in full cop mode.
| BERMAN |
| None here either. (flips his phone shut) Where could she be? |
| BUG |
| Do you have her work number? |
| BERMAN |
| She’s a kindergarten teacher. Class was over a long time ago. |
| JORDAN |
| What about the boyfriend’s number? |
WOODY
(still on the phone) |
| He’s not answering either. |
| BERMAN |
| Then this Cupid guy may have already got to them. |
| GARRET |
| And he’s obviously not at his apartment. |
| BERMAN |
| So, where could he be? |
JORDAN is still running information on Michael Eros on the computer.
| JORDAN |
| Previous addresses… previous addresses…. (scans the list) Nothing… nothing… (pause) This could be it. |
BERMAN and WOODY gather around her computer screen
| BERMAN |
| Whatcha got, Doll Face? |
| JORDAN |
| Childhood home. 1214 Montilieu Avenue. |
| JORDAN |
| And it’s set for demolition this spring, so it’s abandoned. |
| BERMAN |
| And the perfect place for a little love nest. |
32. INT. CUPID’S BASEMENT - CONTINUING
CUPID is making his way to the BOY who is still chained up.
| CUPID |
| Just let me take care of this last little detail and we’ll be on our way. |
MARISSA is struggling to find anyway to stop this whole thing.
CUPID
(pausing) |
| Why? This is so perfect… you. Me. Him, out of the way. |
MARISSA
(hesitating) |
| Couldn’t… couldn’t you just let him live? I mean it’s not like he needs to ID you. You said the police were already onto you. |
| CUPID |
| But if I leave him here, you’ll want to come back to him. |
MARISSA has a winsome smile on her face. She knows she just may have gotten the upper hand and bought some time by appealing to CUPID’S ego.
| MARISSA |
| Oh, I don’t know… maybe … after we get to know each other a little better…? |
Song Good Charlotte “My Bloody Valentine” continued
33. EXT. CITY STREETS – CONTINUING
Two cars, one with WOODY and JORDAN in it, and one with BUG and BERMAN are racing towards 1213 Montilieu in South Boston. WOODY’S car is in the lead, sirens blaring and lights flashing.
34. INT. WOODY’S CAR – CONTINUING
JORDAN’S giving directions, since she used to live in South Boston.
| JORDAN |
| That way. Turn left here. |
JORDAN
(gives him a look) |
| Of course, I’m sure. Just turn. |
WOODY takes corner as fast as physics and safety allows. JORDAN’S hanging on for dear life.
| JORDAN |
| You shoulda let me drive. |
WOODY gives her a semi-glare. He still doesn’t feel good, but the adrenaline is kicking in.
| WOODY |
| Led me demind you…Cop, coroner…cop, coroner. |
He motions between the two of them. JORDAN grips door handle as the car swerves.
| JORDAN |
| Both hands on the wheel! |
WOODY gives another near-glare and sneezes three times, causing the car to swerve again JORDAN sighs the sigh of a patient woman.
| JORDAN |
| You shoulda let me drive. |
| JORDAN |
| I dunno know… I’ve seen you look better. |
| WOODY |
| Just (grits teeth) tell me where to turn next. |
35. INT. BERMAN’S CAR - CONTINUING
BERMAN and BUG are in the car following WOODY and JORDAN.
| BERMAN |
| I sure hope Ace there knows where he’s goin’. |
| BUG |
| Jordan does. She’s a Southie… |
BERMAN
(raises eyebrows) |
| Shoulda known. That kinda figures…all that attitude had to come from somewhere. |
BERMAN takes corner behind WOODY, only slowing down slightly. BUG tries to act nonchalant about the whole thing even as he watches the landscape speed by.
| BUG |
| Think we’ll get there in time? |
BERMAN glances at the rearview mirror, spotting the Crime Scene kit that Bug has thrown in the back seat.
He takes next corner just as fast.
| BERMAN (cont’d) |
| … but just in case, keep that thing handy. |
He nods towards the kit in back.
36. INT. WOODY’S CAR - CONTINUING
JORDAN is still holding onto door handle.
| JORDAN |
| Next right. And… we’re there. |
WOODY sneezes again.
| JORDAN (cont’d) |
| You know, you still don’t look so good. |
WOODY takes the right hand curve just as fast as before.
| WOODY |
| I’m fine, Jordan… just fine. See, the congestion is clearing up. |
| JORDAN |
| You’re still flushed. |
| WOODY |
| It’s the speeding car thing. I always get flushed during take downs. |
JORDAN
(dubious) |
| I think it’s the fever |
WOODY is just about this close to losing his temper with her.
| WOODY |
| I’m fine, Jordan. Fine. (sniffs loudly) See…no more stuffed up
nose. We’ll be able to go to that little B&B just like we planned. |
JORDAN gives him a look that says “Yeah, right.”
She motions to a deserted house, in the middle of a long row of deserted houses,
all with No Trespassing signs on them and demolition tape everywhere.
| JORDAN (cont’d) |
| Here it is. |
END OF ACT FOUR
ACT FIVE
37. EXT. MONTILIEU STREET-SOUTH BOSTON - AFTERNOON
WOODY is on his walkie requesting back up and an ambulance at the location. BUG and BERMAN are standing beside the car waiting for the next direction as is JORDAN. BERMAN looks over as WOODY is replacing his walkie on his belt.
| BERMAN |
| Where to now, Chief? |
WOODY looks towards the row of houses. They are all in various states of falling apart. Most windows are boarded up. WOODY nods towards the houses.
| WOODY |
| I’ll go one way, you go the other. (sniffle) We’re looking for a door or window where the boards have been pulled loose. |
BERMAN nods, and he and WOODY start for opposite sides of the house with BUG and JORDAN right behind them. WOODY stops abruptly and turns to look at the M.E.s.
WOODY (cont’d)
(smirking) |
| Can I help you? |
JORDAN and BUG share a look that plainly says ‘Are you kidding me?’
| JORDAN |
| Someone might be hurt in there and last time I checked, neither of you had your medical license handy. |
JORDAN and BUG walk past WOODY and BERMAN, who share a resigned look and turn
to run ahead of them.
WOODY
(taking JORDAN’S elbow) |
| You stay right behind me… understand? |
JORDAN
(nods and pulls arm away) |
| Yes, Dad. |
WOODY ignores her comment and watches as BUG and BERMAN disappear around the opposite corner of the homes. He and JORDAN both fall silent as they pass the back of the first house and come to the second just as BUG and BERMAN turn the corner at the back of the house. WOODY reaches out to push on a board over the back door and it easily swings to the side. WOODY looks at BERMAN and they both take out their guns. BERMAN approaches the door with BUG.
WOODY
(whispering) |
| He’s got to have them here. Let’s do a sweep of the first floor then we’ll - |
JORDAN
(cutting in) |
| -The basement. They’re in the basement. |
| BERMAN |
| Yeah, maybe, sweet cheeks, but we’re gonna check up here first and - |
