Fade in: 1. INT. SEAN'S HOUSE--night A man is seated at a desk, backlit by a desk lamp, and only seen from behind. He is holding something and staring at it. As the camera pans closer, we see over his shoulder the object that he is holding: it is a picture of a woman. MORGAN (os) Hi, baby. SEAN looks up sharply. The camera angle shifts to behind SEAN's shoulder, looking up as though from his POV. We see a woman standing in the shadows. It is MORGAN. SEAN My God. I've missed you. MORGAN I haven't been gone that long. SEAN It felt like forever. MORGAN (moving towards him, out of the shadows) I know. But I'm here now. (she embraces him) I'm here. 2. OPENING CREDITS 3. INT. HOUSE—day MORGAN is pacing angrily, and SEAN is seated on the bed, with head in hands. He looks up as she begins to speak. MORGAN Have you forgotten already? Given up before we even got started? SEAN No, it's just that… MORGAN It's just that what? You promised me we would do this. You swore on everything that meant anything. And now you can't even look me in the eye. What the hell is wrong with you? SEAN Morgan, nothing. This just isn't right. MORGAN How can you say that? After all we've done already—I'm not asking so much of you. Only that you keep your promises. You say you love me. Are you lying? SEAN I would never lie to you. About anything, but especially about that. MORGAN Than what the hell are you waiting for? This isn't something that will just happen. You have to do it. If you love me at all, you will do this. SEAN puts his head back in his hands. Fade to black. 4. INT. POLICE STATION—Afternoon/evening DETECTIVE JAMES is putting a file back into a filing cabinet. He is talking to an OFFICER LAURA. DETECTIVE JAMES (shaking head) That's another one unsolved. OFFICER LAURA There weren't any leads? DETECTIVE JAMES None that panned out. Poor woman. Just another "wrong-place-wrong-time". OFFICER LAURA It happens. Sometimes there's nothing you can do. DETECTIVE JAMES Yeah, I know. (shakes head again) Look, it's been a long day. I'm going to head home a little bit early, ok? I want to see my wife. OFFICER LAURA Alright. I'll see you tomorrow. DETECTIVE JAMES (putting on coat) See ya. DETECTIVE JAMES goes out the door. Fade to black. 5. EXT. FRANKLIN STREET – Afternoon/Evening Back shot of Sean walking down Franklin. As Sean enters a café. 6. INT. CAFÉ – Afternoon/Evening SEAN takes a seat in the corner of the café, and observes everyone. Shots of people sitting, talking, etc. Camera comes to rest on TODD, sitting alone. His body language suggests that he is waiting for someone. A woman walks in, and Todd's expression immediately changes. The woman walks over to him, and they embrace. TODD I missed you. Sean's head jerks around and he intently focuses on the couple after hearing this. EMILY I know. I missed you too. I can't stay for long, though--I have to get back to the office. TODD I know. I just wanted to see you for a little bit. The couple converses in the foreground about their day, and their near future. In the background, Sean isn't intently focused on the couple, but he frequently glances up at them. EMILY Alright, I've really got to go. I'm sorry. TODD OK. I'll talk to you soon. I love you. EMILY (kissing him, on her way out) I love you too. Todd watches her go, finishes the last of his coffee, and also leaves. A few seconds later, Sean also stands, and goes out after Todd. 7. EXT. FRANKLIN ST. – Evening ANGLE ON DOOR Todd comes out of the door, followed a few seconds later by Sean. ANOTHER ANGLE Sean walks down the street, towards the arboretum. As they enter the arboretum, Sean takes a cloth out of his pocket, and squirts liquid into it. Sean speeds up, overtaking Todd. Sean grabs Todd's arm, spins him around, and covers his mouth with the hand holding the cloth. After a few seconds, Sean drops Todd to the ground and pulls out a gun. Sean raises the gun, pointing it at Todd's head, but seems to hesitate… 8. FLASHBACK - EXT. ALLEY – NIGHT (B/W) Woman walking down alley in the dark—we never see her face. (POV – camera slightly behind) Man reaches out, grabs her arm and spins her around, places his hand over her mouth… 9. EXT. ARBORETUM – Evening Sean, poised over man. Sean visibly refocuses on his task, and pulls the trigger. Go to black. 10. EXT. OUTSIDE DETECTIVE's HOUSE—Evening DETECTIVE JAMES pulls up outside the house. We see his wife, REBECCA, opens the door, as though to greet him. 11. INT. DETECTIVE JAMES' CAR—Evening POLICE BAND RADIO (filter) Calling all units, calling all units. There has been a murder at the arboretum. Please respond as soon as possible. Calling all units. DETECTIVE JAMES Not again. Goddammit. (picks up radio) Dispatch, this is CH24. Detective en route to scene, asap. Over. RADIO 10-4 Detective. 12. EXT. OUTSIDE DETECTIVE JAMES' HOUSE--Evening Shot of car peeling away from house. Rebecca looks out of the doorway, confused. 13. INT. SEAN'S HOUSE—Evening Sean enters, visibly shaken. Morgan, stretched out on the couch, smiles and rises to meet him. MORGAN I knew you could do it. See? It went perfectly, didn't it. SEAN I don't--should I—should we—even be doing this? I know you think it's a good idea, but what's the point? I mean, really. What is the goddamn point?? MORGAN You make me so happy—happier than I've ever been before. (she pauses, looks up at him) Do I make you happy? SEAN Yes. Yes, of course. But you weren't there, Morgan. You didn't see him lying there, like I did. You didn't see his blood, Morgan, you didn't see him die. MORGAN I didn't have too. You did. Did it scare you? To see him die? It did, didn't it. What the hell is the matter with you? You can't be afraid of anything, goddamn you. You have no right…. (he turns away) No, please. Please. (she moves to embrace him) I'm sorry. I love you—you are so wonderful. You must know that. You do, don't you? SEAN (wearily) I love you too, Morgan. Sean looks as if he's going to continue on a rambling monologue, but thinks better of it, and resigns himself to closing his eyes and turning his head into Morgan's embrace. 14. EXT. ARBORETUM—Evening At the scene of the murder. Detective James and several other OFFICERS are gathered around the body of the murdered man. One is taking photos. Another looks at his notepad. DETECTIVE JAMES Was anything taken? OFFICER LAURA No. Wallet, watch, wedding band—all still here. DETECTIVE JAMES So mugging is out. This makes no sense. Who would go to all the trouble of using chloroform to knock the victim unconscious, just to kill him? OFFICER LAURA Maybe he was involved with drugs or something…or maybe he just pissed off the wrong person. We should know more after we run a background check on him. DETECTIVE JAMES There has to be more to this than we can see. 15. INT. POLICE STATION—Night Detective James is sitting at his desk. A uniformed officer comes in, holding a file folder. OFFICER LAURA So much for going home early, eh James? DETECTIVE JAMES Yeah, I know. OFFICER LAURA Anyway, here's your boy. Carl Watts. Age 34—had a wife, no kids, worked 9-5, just like the rest of us. No criminal record—not even a parking ticket. Hate to tell you this, but it looks like just another wrong place wrong time. (tosses folder onto desk) DETECTIVE JAMES (to himself) No. Not this time. I know there's something more to this… Detective James opens the file, scans some papers and shuts it again. He stands to go, taking the file with him. He heads out the door. OFFICER LAURA Good night, Detective. See you tomorrow. And tell your wife I said hey. DETECTIVE JAMES Will do, Laura. See you tomorrow. Detective James goes out the door. 16. INT. DETECTIVE JAMES' HOUSE—Night Door opens, Detective James enters. His wife, Rebecca, looks up and smiles. REBECCA Hi honey. Is everything ok? I saw you pulling away earlier, and I was worried. DETECTIVE JAMES I'm so sorry about that. I was going to come home a little early, but then I got a call on the radio—there was a murder. God, I'm starving. REBECCA There are some leftovers in the fridge—I went ahead and ate without you. DETECTIVE JAMES Good. (he kisses her on the head, and goes into the kitchen. As he's getting food) The killing seems random so far, but I need to take a closer look at the victim's background…I might be in for a couple of late nights with this one. But let's not talk about work anymore—I've had enough of that for one day. How are you doing? REBECCA I had a pretty quiet day—you know I wasn't feeling well earlier, so I called in sick to work…I've basically just been reading all day. I took a hot bath…it was nice. I missed you, though. DETECTIVE JAMES I missed you too. (he kisses her) I'm glad you had a rest—we all need that every once in a while. How are you feeling now? REBECCA A lot better. I just get a little woozy sometimes. It goes away, and you're right, it was nice to have a bit of a rest. I'm sure I'll be just fine by tomorrow. DETECTIVE JAMES You've been feeling like this for a while, though, haven't you? REBECCA Yeah, but I've also been working really hard. It's probably just stress. Or maybe I caught some bug. Who knows. I am feeling better, though. DETECTIVE JAMES Good. That's what I like to hear, Becky. Rebecca stretches out on the couch and puts her head in his lap. He smiles and strokes her hair. Fade to black. 17. INT. DETECTIVE JAMES' HOUSE—Late Night Rebecca is asleep in bed. Detective James is at his desk—he is pouring over the papers from the Watts' file. DETECTIVE JAMES What is it, Mr. Watts? What happened to you? 18. INT. BAR—Evening Sean is sitting in a back corner of the bar, sipping a drink and casually observing the rest of the bar occupants. A man, MIKE, and a woman, GWEN, are sitting at a table near Sean, talking quietly and finishing their drinks. GWEN You know something? MIKE What's that, sweetheart? GWEN You make me so happy. Sean's head snaps up, as though he has just remembered something important. GWEN I mean, lots of stuff makes me happy, right? But you make me happy. Like, really really happy. I've never met anyone like you before. MIKE I know, baby—I feel the same way about you. I really do. I love you. GWEN Let's go home, ok? MIKE Ok. You wait here. I'll go get the car. I'll be right out front in a couple of minutes, ok? (he kisses her) Mike heads out the door, and a few seconds later, Sean follows him out. 19. EXT. BAR—Evening Mike walks out of the bar, and Sean comes out a couple of seconds later. The camera picks up behind Sean, who is following Mike. As Mike turns down a side street, Sean speeds up. Sean grabs Mike's arm and spins him around. Before Mike can yell, Sean clamps his hand over Mike's mouth and presses a gun to Mike's ribs. SEAN Stop struggling. Mike freezes, and Sean hesitates… 20. FLASHBACK - EXT. ALLEY – NIGHT (B/W) Woman walking down alley in the dark. (POV – camera slightly behind) Man reaches out, grabs her arm and spins her around, places his hand over her mouth. She struggles. MAN Stop struggling, bitch. I'll fuckin' kill you. She continues to struggle, and he puts a gun to her ribs… 21. EXT. SIDE STREET—Evening Sean fires, he is covered in Mike's blood. He lets Mike's body drop. Black. 22. INT. POLICE STATION—Evening Detective James is sitting at his desk, looking through some papers. A uniformed officer comes in. OFFICER LAURA There's been another one. DETECTIVE JAMES Goddammit. Let's go. They exit the precinct together. 23. EXT. DETECTIVE'S CAR—evening We see Detective James and the officer driving to the scene. 24. EXT. SIDE STREET—evening A small group of officers is gathered around Mike's body. They look up as Detective James and the officer arrive. DETECTIVE JAMES Hi boys. What can you tell me about this one? OFFICER 1 Well, this looks just like the other one—in the arboritum. Only no chloroform. This time our killer just blew the guy away. Much closer range this time. DETECTIVE JAMES Lemmie guess—watch, wallet, cash, still on his person. OFFICER 1 You got it. Didn't even take the wedding band. DETECTIVE JAMES And no eyewitnesses. (Officer 1 shakes his head) Great. What the hell is this guy's motivation? What are we missing? (looks at the body for a moment) I don't think there's anything more we can get here right now. Dammit. Let's head back to the station and see who this guy was. Detective James begins walking back to his car, with officer Paul following him. 25. INT. SEAN'S HOUSE—Night Sean, hands, arms and body covered in Mike's blood, opens the door to find Morgan waiting for him. Morgan says nothing, but walks to him and, taking his hands, begins to kiss them. She stops, and looks up at him intently, blood on her lips and face from his hands. He moves into her arms, and they kiss. Neither notices the blood that is now covering them both. As they kiss with increasing passion, Sean begins to raise Morgan's shirt slightly—she freezes, and grabs his hand instinctively. They both stop mid-motion, and she looks up at him, almost frightened. Then she takes his hand that she grabbed, and, backing out of his embrace, leads him gently towards the bedroom. 26. INT. POLICE STATION—Morning Uniformed Officer enters Detective James' office, where James is comparing the two victims' files. OFFICER LAURA Hey. You got a phone call. Line 2. DETECTIVE JAMES Thanks, I got it. Hello. Detective James here. SEAN (voice) Detective, I witnessed a murder last night. I need to talk to someone. DETECTIVE JAMES A murder? Where? SEAN (voice) On a side street. Near the bar. I saw the whole thing. DETECTIVE JAMES Ok. What exactly did you see? SEAN (voice) I saw a man with a gun. He was following another man, the one he killed. He grabbed the guy, and put the gun to his ribs. Then he just blew him away. DETECTIVE JAMES (under breath) Jesus. (to Sean) I need to ask you some questions. Will you come down to the station? SEAN (voice) No, I can't do that. I'm afraid the killer might have seen me—can't I please just tell you over the phone? I'll tell you whatever you need to know, but I don't want him to see me talking to you, ok? DETECTIVE JAMES Alright. That'll be fine, for now. First thing I need from you is a description of the perpetrator. Can you do that? SEAN (voice) Yes. He was [actor playing Sean describes self]. DETECTIVE JAMES (taking notes) Ok. Great. Now, did he say anything at all? SEAN (voice) The man was struggling, and he told him to stop. That's all. And then he killed him, and just walked away. DETECTIVE JAMES Can you tell me where he went? In what direction he was heading? SEAN (voice) Not really. I lost sight of him pretty fast, and I just didn't want him to see me, so I didn't move. I'm sorry. DETECTIVE JAMES No, that's quite alright. You've been very helpful. Can I get your name in case we have anything else we need to ask you? Detective James looks at the phone as he realizes that Sean has hung up. 27. INT. SEAN'S HOUSE—morning MORGAN My god. What are you doing? What the hell did you just do? SEAN Morgan, this stops now. It has to stop now. MORGAN What? SEAN Morgan, listen to me. MORGAN No. You listen to me. You can't stop now. I won't let you. You said this was what you wanted—you said-- And when you said you loved me? When you said you would love me forever. Is THIS what you meant? "I love you, Morgan, but only until I'm tired of keeping my promises to you." Or how about "I love you, Morgan, but not now." Is that good? Does that sound about right? "I love you, Morgan, but don't ask anything of me because I guess I don't really love you quite that much—not quite enough for that, Morgan." SEAN Stop it! (he grabs her arms, pinning them to her sides) I've done everything I can. I can't do any more than that. I'm human, Morgan. You have to understand that. I feel it when these people die. MORGAN You're human? YOU'RE HUMAN? Fuck you, Sean. I'm not? I don't know what we're doing? I didn't see you come home covered in that man's blood? I didn't WELOCME you home covered in the blood of the man I saw you kill as clearly as if I had been there myself, pulling that trigger, myself? You're no more human than me, Sean. You're no more human than me, and goddamn you if you think you're better, because you're not. Because I wasn't the one who pulled that trigger, Sean, you were. YOU killed those men, and you know that as well as I do. SEAN I DID IT FOR YOU, Morgan. I have done everything for you—don't you dare judge me by that—don't you dare hold that against me. This isn't something that I wanted— MORGAN You? You've done EVERYTHING for me? You say that, Sean, but you can't even be there for me when I need you the most. You can't even look me in the goddamn eye right now. I would do anything for you, Sean, anything. I would die for you—and I would certainly kill for you. SEAN I would never ask that of you, Morgan. You know that. MORGAN Well I'm asking that of you. What will you say, Sean? SEAN Morgan— MORGAN What will you say? What will you say when I look you in the eye the way I have done a thousand times before and I say to you "Sean, I want you to kill that detective. I want you to find him, and I want you to put a bullet in his body and I want you to get soaked in his blood, and I want you to do it because you love me. Because I love you, Sean, with all my heart and soul, and I want you to do it. (she reached up to whisper in his ear) What will you say? SEAN Morgan— MORGAN What will you say? SEAN What if it doesn't work? What if I can't do it? MORGAN (still whispering in his ear) You can't fail. You can't. I love you. You can't fail. SEAN (holding her, seeming not to be listening to her anymore) I have you. I can't fail. I love you, Morgan. I love you. 28. INT. DETECTIVE JAMES' HOUSE—evening Detective James walks in, goes over to Rebecca and kisses her. REBECCA What's the matter, honey? You look so tired. Are you ok? DETECTIVE JAMES Yeah, I'm fine. I've just had a long day. (he sighs) There's been another murder. It's got to be the same killer. REBECCA Is there some sort of pattern? Or is he just mugging these people. DETECTIVE JAMES Not mugging—they both still had their wallets, rings, watches, everything. I even got a call today—an eyewitness—but it didn't help at all. I've been puzzling all day… REBECCA Do you think maybe it's a personal thing? DETECTIVE JAMES Well, that's what I thought—maybe a deal gone bad, something like that—but I couldn't find any kind of connection between the victims…not even a similarity, except that they're both married. If this guy's killing married people, then he's got his work cut out for him…(laughs). And I'd better watch my back. REBECCA God. Don't even joke like that. DETECTIVE JAMES I'm sorry Becky. It's been a long day. (he kisses her) Let's go to bed, ok? They get up and walk, hand in hand, into the bedroom. 29. INT. DETECTIVE JAMES' BEDROOM—morning Detective James wakes up—Rebecca is still asleep. He looks at her for a few seconds, and then kisses her hair lightly. DETECTIVE JAMES I love you, honey. I'll see you when I get home. Detective James gets up and begins to get ready to go to work. 30. EXT. STREET—morning We see Detective James driving to the station, pulling up outside. 31. INT. POLICE STATION—morning Detective James enters the police station. OFFICER LAURA Hey. Anything new? DETECTIVE JAMES No. I took a break last night. This case is so damn frustrating—even with the eyewitness description, I don't feel like we're closer to catching this son of a bitch. OFFICER LAURA Relax, man. I have a good feeling about this one. We're gonna get this guy. Something's gotta break soon. DETECTIVE JAMES Yeah, I hope you're right. Goddamn, I hope you're right. (he sighs) I'll be in my office if you need me. Detective James goes into his office, sits down at his desk, and begins looking at the two victim files and the notes he took from the call. 32. INT. SEAN'S HOUSE—noon Morgan is standing in front of Sean, holding the gun out to him on upturned palms. MORGAN Go. He looks at her, at the gun, and then at her again, as though he were going to say something. She looks back, almost pleadingly. He takes the gun and kisses her once, violently, then turns quickly and goes out the door. The camera remains on Morgan as she waits for a beat or two, and then follows Sean out. Shot of the door closing behind her. 33. EXT. STREET—noon Sean is walking down the street, Morgan several steps behind, matching his stride (the camera follows from behind Morgan). He does not know she's there. 34. INT. POLICE STATION—noon Officer Paul enters Detective James' office, Detective James looks up from the papers he has been studying. OFFICER LAURA Hey, we're thinking about getting some lunch. You want anything? DETECTIVE JAMES Yeah, sure. Actually, I'll go get it. I'm getting nowhere here, and I think I need to walk away for a few minutes. OFFICER LAURA OK, great. Here's what the boys want. (hands him a list) Thanks. DETECTIVE JAMES No problem. I'm glad for the break. I'll be back in a little bit. Detective James goes out the door. 35. EXT. POLICE STATION—noon Detective James exits the building. Sean is leaning against the wall, smoking a cigarette. From Sean's POV, we approach Detective James from behind; Sean grabs his arm, spins him around, clamps a hand over his mouth, and presses a gun into his ribs. Both men freeze. 36. FLASHBACK - EXT. ALLEY – NIGHT (B/W) Woman walking down alley in the dark. (POV – camera slightly behind) Man reaches out, grabs her arm and spins her around, places his hand over her mouth. She struggles, and he puts a gun to her ribs; she continues to struggle, and, getting a hand free, scratches her attacker's face. He fires, and she screams and drops. MAN Oh, Jesus. Oh my God. 37. EXT. POLICE STATION—noon Sean and Detective James remain locked and frozen. Morgan steps into the scene, slides her arms around Sean from behind. MORGAN Now. She pulls the trigger, and Detective James drops. She holds for a split second, as though embracing Sean, and then slides away again. 38. INT. POLICE STATION—noon The officers hear the shot. OFFICER LAURA What the hell was that?? All the officers run to the door and out. 39. EXT. POLICE STATION—noon The police officers run out the door a split second after Sean disappears around a corner. And officer discovers the Detective's body. OFFICER LAURA Jesus! Goddamnit!! He was here! Goddamn son of a bitch was right here! Split up! He can't have gone far. GODDAMMIT!! GO!! GO!! The officers take off after Sean. 40. EXT. STREET—noon Sean sprints down the street (camera following him), cuts through woods into cemetery. The officers are not yet quite visible behind him. 41. EXT. CEMETERY—noon Sean reaches a grave and throws himself to his knees on top of it. (Camera swings around from behind Sean to behind the gravestone) Sean takes sobbing breaths. SEAN Oh, god, oh my god I'm so sorry, god… Sean pulls out his gun, holds it to his head, hesitates… 42. FASHBACK - EXT. ALLEY – NIGHT (B/W) Woman walking down alley in the dark. (POV – camera slightly behind) Man reaches out, grabs her arm and spins her around, places his hand over her mouth. She struggles, and he puts a gun to her ribs; she continues to struggle, and, getting a hand free, scratches her attacker's face. He fires, and she screams and drops. MAN Oh, Jesus. Oh my God. Man backs out of shot—continues oc to mutter to himself—the shot widens, we see the dead woman lying in a spreading pool of blood—we see her face for the first time and realize that it is Morgan. 43. EXT. CEMETERY—noon Sean screams, pulls the trigger, and collapses dead on Morgan's grave as the police run up. Fade to black. 44.CLOSING CREDITS