FROM THE FATAL HEART by SHANNON MUIR Copyright 1991 Shannon Muir HONORABLE MENTION IN THE DRAMA SCRIPT CATEGORY OF THE NATIONAL BROADCASTING SOCIETY-ALPHA EPSILON RHO STUDENT PRODUCTION AWARDS (1991). IF YOU LIVE IN THE CHENEY/SPOKANE (WA, USA) AREA, YOU MAY STILL BE ABLE TO SEE THE PRODUCED VERSION OF THIS ON EASTERN WASHINGTON UNIVERSITY'S CABLE ACCESS CHANNEL. FADE IN: INT. MOTEL ROOM - OPEN WITH SHOT OF RADIO The radio is a portable "boom box" variety. It's located in a motel bedroom, and is currently on and tuned. We hear the voice of radio announcer JESSE JAMES come in loud and clear. JESSE (V.O.) (through radio) And this is Jesse James bringing you "From The Heart", letting you reach out to those you love through song requests and dedications. As Jesse speaks, PULL BACK to reveal a phone on a table next to the radio. A woman's hands ENTER FRAME, pick up the phone, and dial as Jesse continues. JESSE (V.O.) (through radio) Here's a tune from Romy to Julie, "Cherish" by Madonna. CUT TO: INT. RADIO STATION STUDIO It's your average radio station studio. Nothing fancy or outlandish here. DJ Jesse James is behind the console, has just picked up the phone, with the song just barely audible through Jesse's cue speakers. Jesse's in his late 20s, and a pretty good looking sort of guy. He's got an incredible voice, which borders on being extremely sexy. At the same time, though, it's a non-threatening voice - one that would make almost anyone feel comfortable listening or talking to him. That's what makes him popular. JESSE "From The Heart". What's your request? CUT TO: RETURN TO WOMAN'S MOTEL ROOM We have a close-up of her hands as she plays with the phone cord. Her identity is to remain a secret for the time being. BLACK CUPID I'd like to dedicate "All I Want Is You" to Jesse from his Black Cupid. CUT TO: RETURN TO STUDIO Jesse grips the phone hard upon hearing this. It's making him REAL uneasy. JESSE I'll see what I can do for you. Bye. He hangs up the phone quickly, acting like it'll bite his hand off if he doesn't get rid of it pronto. DISSOLVE TO: INT. JESSE'S APARTMENT - FRONT ROOM - NEXT DAY It's a cozy and well-kept place, with a sofa and an armchair in the living room. A lamp and phone are on an endtable. There is a drawer in the endtable that contains a phone directory. Some paintings hang on the walls, preferably ones that reflect his character attributes - nonthreatening, nonviolent things, more natural and serene if at all possible. Jesse is generally an easygoing, peaceful man, not at all extremely "macho" type. There's a knock at Jesse's door. He answers it and finds a FLORIST DELIVERY PERSON there with flowers. FLORIST DELIVERY PERSON Flowers for Jesse James. Jesse takes the flowers from the delivery person, as well as the card. He looks at the card. JESSE (reading card aloud) Soon, we'll be together. Love, your Black Cupid. Jesse stops, stares at the card, puzzled. Then he notices the delivery person's about to leave. JESSE Hold on a sec. I've got something to ask you. The delivery person stops and waits. Jesse takes a good long look at the card again. JESSE Do you know who sent these? The delivery person shakes his head. FLORIST DELIVERY PERSON 'Fraid not. But you could ask at the store to see whose name's on the receipt. JESSE Thanks. Bye. The delivery person departs. Jesse closes the door. He looks at the card again. JESSE (pondering) I recognize this writing... but from where? Jesse immediately goes for the phone and his phone book, placing the flowers on the couch. He flips through the yellow pages like a madman. Jesse scans down a page with his finger, finds the number he's after, dials it quickly. JESSE Hello, I'd like to find out who sent me flowers this afternoon. My name's Jesse James. He waits a moment as the florist goes to check the records, staring over at the flowers which are still laying on the couch. Then we see his face turn to an expression of total dumfoundness and shock. He cannot believe what he has just been told. JESSE (dumfounded) You say they're from MARIANNE JAMES?! But... (stammers)... but that's IMPOSSIBLE! She's DEAD! DISSOLVE TO: INT. DREW HAMMER'S OFFICE DREW HAMMER, the radio station's General Manager, is seated at his desk. Drew's in his late 50s, and well experienced in the radio biz. Jesse's also here, seated across from Drew. JESSE Seems the Black Cupid who's been calling me all this last week has been dedicating all those songs to ME. Not only that, she sent me flowers in MARIANNE'S name. They were Marianne's favorite kind, too - just like what I brought her when she was in the hospital. DREW If she's really using Marianne's identity, Jesse, I think you've got lots to fear - especially since she knows you work here. JESSE I don't know WHAT I should do. First the phone calls, then the flowers... what's NEXT, popping up in my BEDROOM? DREW If it were me, I'd play it by ear for a while and see what happens. We could call the cops if you want, but-- (becomes hesitant to finish) JESSE (interrupts) But you don't think we've got enough evidence yet. (pause, then) I really don't want to get police involved unless I really have to. After Marianne's-- DREW (interrupts) I understand. Just go home and rest for now... and take care, O.K.? DISSOLVE TO: INT. JESSE'S LIVING ROOM - NIGHT Jesse's got on a robe and pajamas, about to go to bed. He puts down a book he's reading (preferably Psycho or a Stephen King thriller book, you get the idea) and turns off the lamp. Now only a lone ray of moonlight shines in from an O.S. window. He hears a knock on the door, goes to open it, finds a folded note on the door. Jesse takes it off, closes the door, then goes back to the lamp. He turns on the lamp and opens the folded piece of paper. CLOSE ON NOTE We see it under the lamplight. In lettering cut from the newspaper, it reads, "They say love kills. Black Cupid." There's also an article pasted underneath, with a headline to the effect of, "Apparent suicide of local DJ's wife remains mystery". CLOSE - JESSE He's too much in shock to say anything. CLOSE ON HEADLINE JESSE (in major shock) Oh my -- DISSOLVE TO: INT. DREW HAMMER'S OFFICE Jesse's in talking to Drew again. He's got the note in hand. JESSE She's getting too darn close for comfort, Drew... Jesse shows the note to Drew by thrusting it at him. JESSE (starting to get upset) ... and last night she left THIS! Reminding me of the PAIN I've endured-- Drew takes the note to look at, interrupts Jesse. DREW (gravely serious) Black Cupid seems to know just how to aim for the heart. JESSE (upset) What can I do? I'm getting real scared of what she'll do next. And I STILL don't want to call in the cops. I don't know what they could do anyway. Drew rests his chin on one of his hands in thought for a moment. DREW Jesse, I have an idea. Jesse looks over at Drew. JESSE (sarcastically) The request's line's open. Lay it on me. DREW As you know my goddaughter Aimee's a DJ at the station. She's got a spare room at her place. We could hide you out there and forward all mail to a Post Office Box. It'd be cheaper than hiding out in a motel, not to mention more comfortable. JESSE (calming slightly) Things are getting so bad I'll take any suggestion right now just to escape being an easy target for this pyscho lady. (pause then) But what about my work here? DREW Let's keep you on for now. A lot of people will notice if we just YANK you off the air. You're our most popular DJ. Jesse stands. JESSE Thanks for everything. Drew stands also. They shake hands. DREW Any time. DISSOLVE TO: INT. AIMEE RILEY'S PLACE - SPARE BEDROOM - NIGHT Jesse enters with AIMEE RILEY, a young woman about his age. She's outgoing, free spirited, good looking but doesn't flaunt it. She uses very little makeup to enhance her natural beauty. Jesse has a couple of suitcases with him, just the minimum he'll need to survive. Aimee has a stack of mail in hand. The room is small but not bad. It contains only a dresser bed, and endtable with lamp. There is a closet also, but it doesn't actually need to be seen, only implied. AIMEE Here's the room. Hope it'll do for you. JESSE It's fine, thanks. Jesse puts his suitcases down, sits on the bed. Aimee joins him. As they sit: AIMEE Uncle Drew didn't tell me too much about what's up. Just that you've gotten some freak calls and stuff from some wacko called the Black Cupid. And something about her using your dead wife's name. This causes Jesse to sigh sadly. Between Drew's mention of Marianne and Aimee's, it's awakened feelings and memories within him. JESSE Marianne... how much I miss her... CUT TO: FLASHBACK #1 - JESSE'S APARTMENT - FRONT ROOM MARIANNE JAMES and Jesse are on the couch, watching a T.V. that "exists" O.S. (an intermittent ellipsoidal with a blue gel might make a good effect to fake a flickering set). They are laughing together at the comedy they're watching. Jesse puts an arm around Marianne and holds her tight. This would only be two years previous to the current time of the script. JESSE (V.O.) We were so happy together. CUT TO: FLASHBACK #2 - IN HOSPITAL EXAMINATION ROOM A doctor (DOCTOR LAWSON) is examining Marianne. She looks much more pale and weak than when we last saw her. Marianne is not happy. The Doctor makes some notes on his clipboard. JESSE (V.O.) Then we found out she had cancer. Things were so touch and go they hospitalized her. CUT TO: FLASHBACK #3 - IN A HOSPITAL ROOM Marianne is in bed, Jesse by her side. He's holding her hand, trying to comfort her. She doesn't look in the best of health, but smiles with an inner strength. Marianne's hair is hiding under a scarf, what little remains. Chemotherapy has led to losing most of it. A vase of flowers (the same type as in scene 5) are by the bed. Jesse's voice begins to crack, and it gets harder for him to go on as the flashbacks continue. JESSE (V.O.) We held out hope, and after a while Marianne was in complete remission. Jesse gives his wife a light kiss JESSE (V.O.) They kept her awhile for observation, but planned to release her soon. CUT TO: FLASHBACK #4 - HOSPITAL ROOM - LATER Marianne lies peacefully. Jesse enters, tries to wake her gently, he cannot. JESSE (V.O.) One day I went to see her and she wouldn't wake up. Jesse looks by Marianne's bedside. Besides a vase containing flowers as those seen in scenes 5 and 12, there is also an empty pill cup and a half-full glass of water. He goes for the note and reads it. JESSE (V.O.) I found a note in her handwriting... it said she'd... given up... that she couldn't take the pain... where she got the pills from I don't know... CUT TO: BACK TO AIMEE'S Jesse's in near tears. JESSE In my heart... it's still hard for me to believe she'd do that... she was such a fighter... Aimee puts an arm around Jesse in a supportive quick hug. AIMEE I'm sorry I brought it up. I had no idea-- JESSE (interrupts) Don't be sorry. You didn't know. Aimee then realizes she has the mail in her hand. She'd all but forgotten it. AIMEE Before I forget... She hands the mail to Jesse. AIMEE (CONT'D) ... here's your mail from the post office. Jesse starts looking through the mail. After a couple envelopes, he discovers one envelope that catches his attention. He looks at it VERY waringly. JESSE Here's one with no return address... but the writing looks familiar... TOO familiar... Jesse opens the envelope, removes a note, reads it. His face shows he is getting very, very frightened. Aimee notices this. AIMEE (getting very concerned) What's wrong? He can't even speak. He just hands her the note, stares at her as she reads it... aloud. AIMEE (more astonished as continues) You may run, but you can't hide. I'll find you soon, and then we'll be together. The Black Cupid. The pair look at each other, with the same expression of terror on their faces. DISSOLVE TO: INT. THE STATION - IN BOOTH Jesse's just finished his shift, and has the song "The Longest Time" going in the b.g. through the cue speakers. This should be the very opening bars of the song, to give maximum time. Aimee enters with a stack of CDs to play on her shift, since she follows him. Jesse has a stack of his own by the board. Jesse has just hung up the phone in disgust. Aimee notices. AIMEE Another Black Cupid call, huh? Jesse nods. AIMEE All this woman must do is listen to the radio! I mean, you're subbing for Lynn right now! (pause) Maybe we should ask Drew what it'd take to get those calls traced. She sets the stack down on a nearby surface, where Jesse can see the top CD clearly. It's Judy Collins' Trust Your Heart. Jesse looks at the CD, then over to Aimee. He doesn't look too happy. AIMEE (can't figure out why he's upset) What's wrong with Judy Collins? JESSE (trying to dismiss Aimee's noticing) It's nothing. Don't worry about it AIMEE You can't fool me that easy. Something about that CD bothers you. What is it? JESSE (starting to get upset) Have Drew tell you if you don't know. I thought everyone here knew by now. Jesse stands. JESSE (still upset) See you back at your place. Jesse grabs his pile of CDs from over by the board. Then he leaves the room, nearly slamming the door. Aimee looks after him puzzled. Just then, Drew enters. He's stopped by to see Aimee. Aimee's a little surprised to see him. AIMEE Odd to see you here this late. DREW I came to see how you were, and how Jesse's doing. Not too well, I see. What happened? Aimee opens up the CD player that isn't playing as she's talking. She puts in one of the CDs she brought. AIMEE Just now, I brought a Judy Collins CD into the booth and he got real upset. Said you could tell me why. DREW There's a song on it, "The Rose", that was Jesse and Marianne's favorite. Jesse can't bear to hear it now. Won't even play it as a dedication. Aimee closes the CD player and programs it as the conversation continues. AIMEE Wish I knew that before now. He's so upset with all this Black Cupid mess... I just hate making it worse. DREW (hinting) Did I hear a tone of affection in that voice? Aimee looks up at Drew, a little surprised at what he's said but certainly not giving any sign of denying his words. AIMEE What makes you say that? DREW The way you talk about Jesse and how you treat him. Seems to me you really like him. (pause, then) I'm not too far off the mark, am I? Aimee sighs, looks a little troubled. AIMEE What would it matter anyway? There's no way to compete with a DEAD WOMAN. DISSOLVE TO: INT. AIMEE'S PLACE - JESSE'S ROOM Jesse's reading a book while reclining back on the bed. His source of illumination is the lamp on the endtable. He's just turned the page when there's a knock at the door. JESSE What's up? AIMEE (O.S.) (on other side of door) Can I come in? Jesse puts down the book. JESSE (slightly tired but not rude) Sure. Aimee enters. Jesse stands. AIMEE Just wanted to apologize for earlier. Drew told me everything. If I'd known, I wouldn't have pressed-- Jesse puts a hand on her shoulder, looks her in the face. JESSE (interrupting) It's alright. Just don't do it again, O.K.? Jesse removes his hand. AIMEE (somewhat hesitantly) Jesse, have you ever thought... well, uh... about seeing someone else? Jesse sits down on the bed again, rather angry. JESSE (angry) What kind of a question is THAT? No, I HAVEN'T thought about it. What makes it YOUR business, anyway AIMEE (embarrassed) Oh nothing... I really shouldn't have said anything. JESSE (still angry) Darn right you shouldn't have! (calms down a little) Just let me go to sleep. Aimee heads for the door, rather dejected. She's stopped by the sound of Jesse's voice, much more sincere and apologetic this time. JESSE (apologizing) Aim, wait! I'm sorry I've been such an ass, but it's just that song-- Aimee turns back to look at Jesse. AIMEE (symphatetically) Say no more. I understand. (beat, then, sweetly) 'Night, Jesse. She exits. Jesse watches her leave, a slightly surprised look on his face. Then he reaches over, turns off the light, and gets into bed as we DISSOLVE TO: INT. STATION BOOTH - THE NEXT NIGHT Jesse's in the booth, getting ready for his next shift of "From the Heart". After potting up his microphone, he hits the "ON" button and he is on the air. JESSE Got a message you'd like to send with music on this Valentines' Day? Welcome to "From The Heart". I'm Jesse James, standing by to take your requests and dedications for the next six hours Jesse punches up a CD - "One of These Nights" by the Eagles - then he pots his mike down and turns it off. Jesse reaches over to grab a CD off a stack he's brought in with him and gets ready to set it up. He hears the door opening behind him, slowly. BLACK CUPID (O.S.) I've got a romantic request. Jesse turns around to find himself face to face with the BLACK CUPID herself! She's armed with a .22 pistol. The Cupid's in her mid-20s, a seemingly innocent woman except for a maniacal smile. She's dressed in black clothes, preferably a leather or similar type jacket, black lace top, and a knee-length or shorter black skirt. Her shoes are also black, but her hose need not be black - preferably nude. Cupid has on dark makeup also - dark shade of rouge, a lipstick shade bordering on brown, dark brown eyeshadow - all slightly overapplied. She sees herself as an extremely beautiful and sexy woman, the only one meant for Jesse James. BLACK CUPID Usually Cupids carry bows and arrows, but I thought that a little out-of-date. Jesse is really frightened for his life. Between her little crack and her voice, he knows for sure who she is. JESSE (shocked, scared) You're the Black Cupid! Black Cupid closes the door behind her, gun in hand and ready at her side. BLACK CUPID That's right. Named myself after a line from a hard rock tune I heard once on the street. Seemed to fit, though I don't care for Vixen much. JESSE (shaking) What do you want with me? Cupid raises the gun at Jesse. BLACK CUPID I want you to play music just for ME... a show made up of MY requests. Black Cupid removes about a dozen sheets of folded paper with writing on them from her pocket. She hands them to Jesse, gun still pointed on him. BLACK CUPID Here's what I want to hear. Jesse starts reading over the lists as Black Cupid continues. JESSE But some of these songs aren't here in the booth! They're in the station library-- BLACK CUPID (interrupting) Then we'll go get them. The phone rings, indicated by the "phone light" going on in the booth (designed so that the DJ can tell if the phone's ringing even if he's on-air without hearing it). It rings again. Jesse makes a move for it, Black Cupid prevents him from doing so. BLACK CUPID (hisses) Don't even think of answering! She picks up the receiver, presses down the cradle mechanism, and then sets the receiver on the table. Her gun's still on Jesse. BLACK CUPID Everyone will think your line's constantly busy. JESSE (stammering) But... but... this is a REQUEST AND DEDICATION show! I'm supposed to answer the phones! BLACK CUPID Just announce them all as dedications to Jesse from Black Cupid. JESSE (getting even more frightened) People 'll notice if all the dedications are the same. Then they might send the cops-- Black Cupid steps a little closer to Jesse, gun still pointed straight at him. BLACK CUPID (hissing) Then MAKE UP names! Whatever it takes to get you to play the songs! Jesse grabs the CD he just had before. JESSE (still frightened) Let me set up this next tune then we'll go into the library. CUT TO: IN THE RADIO STATION LIBRARY Jesse and Black Cupid enter the radio station's library, Black Cupid's gun still trained on the disc jockey. Jesse makes his way to the library shelves. As he's pulling CDs: JESSE (scared) How'd you get in here? It's supposed to be locked for the night. BLACK CUPID I came in before and hid. And when the time was right, I came to you. As Black Cupid's talking, Jesse notices a CD at the end of the shelf he's near... Judy Collins. JESSE (whispered low) Forgive me, Marianne. He quickly grabs the CD and hides it at the bottom of the stack. BLACK CUPID (sternly) What was that? JESSE (stammers a little) Uhh... I thought for a sec one of the CDs you wanted was missing. Just found it. DISSOLVE TO: IN THE BOOTH - HOUR LATER Now the song "Hungry Eyes" by Eric Carmen is on. We come in at least midway in the song. Jesse looks at a clock in the room. Over an hour has passed. Black Cupid is leaning against one wall, gun still on Jesse. Jesse's been through all his CDs but the Judy Collins one. JESSE (trying to hide fear) What will you do when the midnight DJ comes in? BLACK CUPID You and I'll be out of here by then. I plan to take you away with me, where you'll be mine... forever. But don't worry about that. Just keep playing my music. Jesse reaches over to the CD and realizes it's the only one he has remaining. Black Cupid notices it for the first time. She steps closer to Jesse, gun still pointed at him. BLACK CUPID (hissing) That CD ISN'T on my list! JESSE (trying to act as calm as possible) I've played all of them I could get from the library in one trip. You won't be in here to hear this one anyway. It'll buy me more time to get what YOU want. The explanation seems to satisfy Black Cupid. BLACK CUPID Good point, but don't do this again without telling me... She steps close enough to take good, close aim at his head. BLACK CUPID (CONT'D) ... or it'll be the LAST THING you ever do! Jesse puts the Judy Collins CD in the machine, but doesn't start it yet. CUT TO: AT AIMEE'S PLACE - FRONT ROOM The contents of Aimee's front room are unimportant with the exceptions of a stereo, phone, and sofa. Drew and Aimee are dressed to go to dinner at a semi-formal establishment. They've got the radio going. Aimee goes over and turns it off. AIMEE We'd better get going, or we'll be late. (as an afterthought) I've got a new tape in my car I think you should hear. The two walk O.S. together. CUT TO: BACK IN BOOTH Jesse has just potted up the start of "The Rose". JESSE (whispering) Drew, Aimee, I hope you hear this. Black Cupid thrusts her gun at Jesse. BLACK CUPID (impatient) Come on, we've got to get more music from the library! Jesse stands and walks out the door, Black Cupid close behind with her gun. DISSOLVE TO: LATER IN BOOTH The clock reads 9 P.M. now. "I Need To Be In Love" by The Carpenters is playing on the air. It has been close to two hours since the last scene. Black Cupid is still here, keeping a close eye and her gun on Jesse. BLACK CUPID You know that song you played when we went to the library - still got it around? JESSE (really scared) Why? BLACK CUPID I liked it. Play it again. The thought of having to actually sit through "The Rose" is making Jesse uncomfortable. JESSE (getting uneasy) Are you sure you want to hear that one? Black Cupid takes a step or two closer to Jesse, gun on him. BLACK CUPID (hissing) I said PLAY THE SONG! Jesse is starting to go to pieces, but does his best to hide it. JESSE (shaking, resigned) All right... I will. CUT TO: AT AIMEE'S PLACE - FRONT ROOM Aimee's got her radio on, listening to the station. We hear Jesse's voice as he does a break. She's got a phone nearby, and is leaning back on the couch flipping through a magazine. JESSE (V.O.) (rather calm, hiding fear) You're listening to "From the Heart", where we send out messages through music. Here's one to M.J. from her husband, who'll love her eternally. And then, we hear the opening bars of Judy Collins' "The Rose" fade in. Aimee drops the magazine. She can't believe this. AIMEE (stunned) What the-- Aimee's in a mad rush for the phone. She dials up her godfather's place. AIMEE Drew? You listening to Jesse's show? NO?! Then tune in quick. I'm hearing something I shouldn't be... CUT TO: BACK IN THE BOOTH "The Rose" is going again, this time Jesse's in the room to hear it. He can't hide his sorrow any longer, starts to break down. BLACK CUPID (hissing with extreme anger) It's that song, isn't it? What is it about that song? Black Cupid moves real close to Jesse now. JESSE (practically in tears) It was a favorite song my wife and I shared. They played it at our wedding. Black Cupid is outraged at hearing this. It throws her into a frenzy. BLACK CUPID Don't even mention MARIANNE! You're MINE now! JESSE (waringly) How do you know HER name? And why do you want ME? BLACK CUPID I have loved you ever since I first heard you on the air. CUT TO: FLASHBACK #5 - MARIANNE'S HOSPITAL ROOM Black Cupid is with her, in a nurse's uniform. Black Cupid is taking a blood pressure reading. BLACK CUPID (V.O.) I was your wife's nurse. Now Black Cupid checks Marianne's pulse. BLACK CUPID (V.O.) I spent a lot of time with her. CUT TO: FLASHBACK #6 - MARIANNE'S ROOM - ANOTHER DAY Marianne is slowly and painfully working on writing a letter. BLACK CUPID (V.O.) She'd write to loved ones when she could... She has just finished signing her name when Black Cupid enters. Marianne weakly folds the letter and puts it in an already addressed and stamped envelope. She gives the envelope to Black Cupid. BLACK CUPID (V.O.; CONT'D) ... and would always have me mail them. CUT TO: FLASHBACK #7 - OUTSIDE MARIANNE'S DOOR Black Cupid puts the envelope in her pocket, pats it. Over this: BLACK CUPID (V.O.) But a few got "lost" along the way. CUT TO: FLASHBACK #8 - AT BLACK CUPID'S APARTMENT This is a different room than we saw in scenes 1 and 3, but the motel set could be easliy rearranged to create this apartment bedroom. Black Cupid's got Marianne's letter in front of her. She's practicing to forge Marianne's handwriting. BLACK CUPID (V.O.) I learned to forge her handwriting. CUT TO: FLASHBACK #9 - MARIANNE'S ROOM Marianne is lying in bed. Black Cupid enters, wearing gloves on her hands. She has a glass in one hand, a pill container in the other... the same ones Jesse will later find. Black Cupid gives them to Marianne who takes them. BLACK CUPID (V.O.) One day I brought her pills which I said were a new experimental drug. Marianne puts the empty container and the glass where Jesse finds them later. Then she nods off. Black Cupid takes the "euthanasia note" out of her pocket and puts it on the table by the container and empty pill container. CUT TO: REUSE OF FLASHBACK #4 - HOSPITAL ROOM - LATER Marianne lies peacefully. Jesse enters, tries to wake her gently, he cannot. BLACK CUPID (V.O.) (sardonic) The experiment worked. Jesse looks by Marianne's bedside. There's a note there, along with an empty pill cup and a half-full glass of water. He goes for the note and reads it. BLACK CUPID (V.O.) I managed to make it look like a suicide. CUT TO: RETURN TO BOOTH - PRESENT TIME Jesse looks at Black Cupid in disbelief. BLACK CUPID But then I had to leave the hospital. Too many people asking questions. Besides, it gave me time to go after what I really wanted... YOU. Black Cupid moves even closer. Jesse tries to back up more but there's nowhere left to go. He's trapped. BLACK CUPID But it hasn't worked, has it? Cupid raises the gun. Jesse watches all this in sick, fascinated disbelief as she brings it slowly up toward his temple DURING: BLACK CUPID You'll always love MARIANNE. Not ME. HER. It's obvious she plans to kill him. She has just reached his temple as she hears behind her: POLICE OFFICER #1 (O.S.) Hold it right there! Upon hearing the officer, Black Cupid wheels around to aim her gun at the officers. There is no hesitation. Gunshots are fired simultaneously from both sides. Police Officer #1 falls to the ground, apparently dead. Black Cupid is wounded in the shoulder of the arm the gun's in. She keeps her free hand over the wounded area as she and Police Officer #2 exchange shots. Both are skilled enough to dodge the other's bullets. Finally, Black Cupid sees herself as pretty well trapped unless she gets out of the booth. She manages to make a dash past the officer and out the door. He follows her. Jesse crawls out from under the console and goes to the fallen officer. He checks the officer for a pulse. JESSE (to self) He's alive... barely. Just then, the officer comes to. He's weak and it's hard for him to talk. POLICE OFFICER #1 (weakly) Where'd... she go? JESSE Out of the booth. Your buddy followed her. POLICE OFFICER #1 (weakly) We've got... backup outside... she won't escape... The officer passes out again. Jesse checks for a pulse again as Drew, Aimee, and Police Officer #2 enter the room. Jesse notices their presence. JESSE (to Police Officer #2) He's in bad shape. We'd better call an ambulance. POLICE OFFICER #2 They're already on the way. Drew and Aimee approach Jesse. AIMEE You O.K., Jesse? JESSE Been scared out of my wits, past that I'm fine. (pause, then) What happened to Black Cupid? POLICE OFFICER #2 Dead. We had our best shot outside with a rifle as backup... just in case. Got her on the first try. The officer takes out a notepad. POLICE OFFICER #2 Now I need to ask you a few questions-- JESSE (concerned) What about the shift? Aimee goes over and sits at the console. AIMEE Lynn'll take it. I'll cover 'till she gets here. POLICE OFFICER #2 Now, Mr. James, start telling me about this Black Cupid... DISSOLVE TO: GRAVEYARD - LATE AFTERNOON Jesse kneels in front of a grave, which is that of his wife. The flat headstone is covered by flowers Jesse has brought to the site, the same kind as Cupid sent in scene 5. Jesse stands. As he does, PULL BACK to reveal Aimee standing there too. JESSE (hint of sadness) Thanks for coming with me. Haven't been here since the funeral. It's just been too hard to deal with... Jesse's voice trails off. AIMEE (with comforting smile) I'll always be here for you, Jesse. That's what friends are for, right? Aimee gives him a quick friendly hug of support. Jesse and Aimee walk off together toward her car in the distance, away from the grave, away from the past - two people working on a new beginning. They continue speaking as they go toward the car. Aimee looks at her watch. AIMEE We'd better hustle if we want to make the movie on time. It's nearly four-thirty. They reach the car. She unlocks the front passenger door for him and he opens it as the conversation continues. He is not facing the graveyard, and in fact is beginning to forget it's even there. JESSE Been meaning to ask... do you like to sit in the front or the back of a movie theater? AIMEE The front. Y'know, no-one to block the view-- JESSE (interrupts) Hey, y'know what? So do I! Aimee laughs as she walks around to the other side of the car. AIMEE (playfully accusatory) Now, just as long as YOU don't eat all MY popcorn... She unlocks and opens her side as Jesse replies. JESSE (pretending to be miffed) Hey, what's this about STEALING your popcorn, huh?! Both laugh a little as they enter the car and close the doors. Ending music comes UP AND UNDER as the engine starts. We see the car pull out and drive off into the distance as we FADE OUT THE END