PLAY FOR ME

by

BRUCE C. COHEN

									Bruce C. Cohen
									11125 Riverview Dr.
									St. Louis, Missouri
									63138-3712
									(314) 438-0715													BCCPlays@hotmail.com
									Copyright 2003
									(PAu2-775-046)

"PLAY FOR ME"
FADE IN:
Members of the Sisterhood (including Catherine(s), Fiona, and Mother), the Tall Man, and the Golden-eyed Man are all telepathic. Audible thoughts and telepathic communications are voice over narrations which are indicated by (V.O.) or (V.O.-TC). Audible thoughts sound normal, but do not correspond to the visual appearance of speech. Telepathic commands and communications are filtered, and tinny. Where spoken text follows a thought or telepathic command, the spoken text is marked as (spoken).

INT. CONVENT -1666- NIGHT 

1666--London, a rundown convent. A small room with two doors is lit by firelight. A woman is screaming in childbirth. An Old Woman (Mother) is attending the pregnant woman. A young woman (Fiona-late twenties to early thirties, long straight black hair to tail bone) enters in a hurry from the right door. 
FIONA	
Mother Superior! They're coming! And all I can sense is rage. We have to leave now!	
MOTHER	
She's too far along. Look, Fiona, there are the baby's shoulders. 
    (Fiona takes pregnant woman's hand) 
Push, my angel! We must hurry to save the child. 
    (woman screams)
Once more, now push hard! 
    (camera shows close up of woman's face, she screams one last time, and dies)
There! Now you may rest, my Angel! 
    (Fiona closes Woman's eyes. Mother swaddles infant) 
Run, Fiona! Her twin is dead, but that won't stop the fires from coming. Take the child to the country before the city is destroyed. Her name is Catherine, after her mother.	
FIONA	
But she has to feed! Let the fires help succor her.	
MOTHER	
    (laughs) 
Not this one. She'll be strong enough. Now hurry before it is too late!	
FIONA	
No, Mother, you go! The Sisterhood cannot lose another Ancient! I'll hold them for as long as I can.	
MOTHER	
There is nothing that you could do to hold them back. There are no rational thoughts for you to play with in that mob. There is only hatred. They would kill you, and then catch me before I reached the river. 
    (V.O.-TC)
Go, now, Fiona, and save your sister. I'll join you both at the Sanctuary if I can.	

Fiona takes the infant, kisses Mother, and exits through the left door of room. Mother begins cleaning the dead woman. Sounds of an angry mob come from outside of the right door. The right door bursts open, Mother turns, and takes a crossbow bolt in the chest. Men rush across the room, try to open the second door, but find it locked. Two men batter against the door several times.

MOTHER	
   (lying on the floor, clutching her chest. Turns her head to a man holding a cocked crossbow.) 
   (V.O.-TC)
Shoot the Bastard!	

Man with crossbow turns and shoots the Mob Leader in the shoulder. Mob Leader screams, then draws a flintlock pistol and shoots Mother. The far door gives way.

MOB LEADER	
Damn her! Go! Find the other witch! Kill her! Go! 
   (several men rush through the left door) 
The rest of you burn this den of Satan to the ground!	

INT. BAR - DAY 

Present Day--A fairly empty bar. Bobby (middle aged male, white collar office worker) enters, white-faced and somewhat dazed. Bartender (male, mid-thirties, Jack) is polishing glasses. Bobby takes a seat at the end of the bar.

BARTENDER	
    Bobby, you look like a fucking ghost! But if you want to talk about it, you need to order something first.	
BOBBY	
Right, sorry. A beer, please. Anything in a bottle.	
BARTENDER	
I've got domestics and ...	
BOBBY	
No, really it doesn't matter. Domestic's fine. I don't...
   (beat)
care.	
BARTENDER	
Okay. One care free domestic, in a bottle, coming right up.
   (bartender turns to open a bottle of beer. Bobby fumbles for a cigarette, and spills the package on the counter. Bartender hands the beer to Bobby, then scrapes the cigarettes into a pile)
So what's brought you here too late for lunch, and too early to avoid rush hour?	
BOBBY	
I....
   (beat)
Christ, Jack! I just... 
   (trails off)	
BARTENDER	
Okay, Bobby. Let me guess. You finally figured out that Oliver Stone fired the extra shots in the Kennedy assassination?	
BOBBY	
I, no it's, I....
    (trails off again) 	

Bartender looks over at a couple at a table in the corner. Bartender puts one finger up in front of Bobby.

BARTENDER	
Hold that thought, Bobby. Let me refill that couple in the corner before she sobers up and takes a good look at her date. Take a drink. Calm down. I'll be right back. 	

Bartender opens two bottles of beer, and walks over to the corner table. Bobby takes a long drink, then sits rubbing his temples until Bartender returns.

BARTENDER	
So, Bobby, someone steal all your Steinways?	

Bobby looks up startled.

BOBBY	
No, nothing was stolen.	
BARTENDER	
Then it's a woman.	
BOBBY	
Maybe.	
BARTENDER	
Bobby, you're making this too damn hard for one lousy beer!	
BOBBY	
She was behind me.	
BARTENDER	
Good, so I was right. It was a woman.	
BOBBY	
    (annoyed)
Please, Jack! Just let me get this out. She was behind me. I thought the store was empty. I was about to lock up, and go to lunch. The first time I knew someone was there was when I felt her voice. "Play for me." I didn't really hear it. It was just...
    (beat)
there. Deep and sultry, "Play for me!"	

INT. PIANO STORE - DAY 

A Piano Store--Catherine (early twenties, shorter than Fiona, medium length dyed blonde, attractive, Fiona’s protégé, mercurial and juvenile, sybaritic, well dressed, with heels) enters the store, but stops by the door. She looks over the shop. Bobby is at the counter with his back to the door. Catherine locks the door, and turns the sign on the door to "Closed".

CATHERINE	
    (Smiling, V.O.-TC) 
Play for me.	

Bobby shudders, then turns around. Bobby continues to narrate the scene.

BOBBY (V.O.)	
     (V.O.)
"Play for me" I felt it in my groin before I made any sense of the words. No, really, don't look at me like that! One second I'm heading for the door to go to lunch, the next I'm semi-erect and spinning around to face the most incredible drop dead wet dream I've ever seen. She's got this amazing body that had to be computer generated. 
    (Camera shows full view of Catherine, then focuses solely on her face.)
But after my initial sense of her, all I could see was her face. Her eyes. 
    (beat)
And her mouth.
    (beat)
Nothing else. Her eyes were, I don't know, just black and endless. And her lips were really pale, white, almost translucent. I just stared into her eyes for about a week and a half. Then I felt her voice again.	
CATHERINE	
    (V.O.-TC) 
Play for me. Something -- Liszt!	

Bobby opens his mouth but does not speak. He nods slowly, and turns to sit down on a piano bench. As he turns, he adjusts his crotch.

BOBBY (V.O.)	
     (V.O.)
Hell, I couldn't talk. So I turned and sat down on the bench, which was really difficult because my slacks were getting tight in front. But I started to play Les Preludes. 
     (Bobby starts playing Liszt's Les Preludes. Catherine walks over and places a hand on the back of his neck. Catherine and Bobby continue to act out Bobby's narration.) 
She came up behind me and placed her hand on the back of my neck. She began rubbing my neck as I played. I really began to feel the music. No, Jack, I mean really feel it with each swell. I could feel my pulse rising, and I was getting rock hard. By the end of the piece she was sitting next to me . I don't know when she stopped rubbing my neck and sat down. At the end, she said ...	
CATHERINE	
    (Catherine, sitting next to Bobby on the bench, closes her eyes and sighs)    
    (V.O.-TC) 
More. Play more Liszt. Play Concerto Number One.	
BOBBY	
But I don't have an orchestra. I can't ... 
    (Catherine places a finger on his lips)	
CATHERINE	
    (V.O.-TC) 
Hush! Play now!	

Bobby begins playing Liszt's Concerto Number One, with full orchestral accompaniment in background. 

BOBBY (V.O.)	
    (V.O.)
Allegro Maestoso! I could actually hear the orchestra in the background. All I could think about was playing for her. I attacked the keyboard. Horowitz turned over in his grave in envy! Shit, bad analogy.
    (beat)
Anyway, I was brilliant. By the second movement, allegro animato, her hand is on my fucking leg. Third movement, I'm flying now! Allegro marziale animato! I'm unzipped and her head is in my lap! Grand Finale! I exploded! Then everything starts spinning. I must have passed out. The last thing that I remember, she was walking away and blowing me a kiss. And her lips were bright red!	

Camera shows Catherine with a big smile sauntering towards the door. She half turns and blows Bobby a kiss. Her lips are fire truck red. Camera pans in until all that is visible is a Cheshire Cat type grin.

INT. BAR 2 - DAY 

Back at the bar. Bobby takes another long drink.

BOBBY	
When I woke up, she was gone. That's when I came over here. Jack, I swear I never played like that before, and never will again! 	
BARTENDER	
Sure you will, Bobby.	
BOBBY	
The hell I will! Remember Jack, I'm just the damn credit manager, not a sales rep. Beyond “Chopstix”, I don't play the piano!	

Bartender gives Bobby an incredulous look, then laughs, opens another beer, and sets it down in front of Bobby.

BARTENDER	
This one is on me.	

Camera pans to the far end of the bar where the Golden-eyed Man (GEM-- male, tall but shorter than the Tall Man, fair skinned, almost pretty, thirties, with unusually bright golden eyes) smiles and nods with satisfaction, lays a bill down on the counter and leaves.

EXT. STREET OUTSIDE BAR - DAY 

Camera follows Golden-eyed Man (GEM) out of the bar. As he turns the corner, the Golden-eyed Man closes his eyes, and has a premonition of a car flying around the corner and hitting an elderly lady bent over a walker who is crossing the street slowly. The Golden-eyed Man opens his eyes, shakes his head in disgust, and walks out to assist the same elderly lady who is still in the middle of the street. 

GEM	
Let me help you, Madame.	
ELDERLY LADY	
Thank you, but I can manage.	
GEM	
On most days, I would agree. But today it seems that you could use some assistance. 
   (Golden-eyed Man takes the Elderly Lady's arm.) 
   (V.O.-TC)
You don't need this walker any more. 	

Golden-eyed Man takes the walker, and begins walking away with it. He stops in the second traffic lane. Elderly Woman straightens up.

ELDERLY LADY	
   (angry) 
Where are you going with my walker? Come back this instant!	

GEM	
I'm just helping you to cross the street. Why don't you come and get it?	
ELDERLY LADY	
You come back here this minute, young man! 
   (starts walking after Golden-eyed Man)
That's my property!
   (she takes several more steps, then stops bewildered)
   (beat)
What did you do to me?	
GEM	
   (Golden-eyed Man folds the walker and hands it to the Elderly Lady)
Just helped you across the street. 
   (Golden-eyed Man stiffens, closes his eyes, and smiles)	

Same car from GEM's vision comes around the corner. Driver slams on the brakes, hits the horn, then pulls around the two pedestrians.

DRIVER	
Get Granny out of the middle of the road, Asshole!	

Driver peels out.

ELDERLY LADY	
   (gives departing Driver the finger) 
Are you all right, young man?	
GEM	
I'm fine. But the gentleman was correct. We need to get you out of the street. And I need to hurry on my way.	

INT. AIRPORT-CUSTOMS - DAY 

Airport Terminal-Customs. There are long lines for customs. The Tall Man walks right through the lines to the front. Man reaches out to stop him, then just lets his hand drop to his side. Tall Man (Male, dark features, almost seven feet tall, unshaven, in grey trench coat, but otherwise indifferent to dress) comes up to the control, and hands his passport to a Female Customs Agent (short, middle-aged, bored).

AGENT	
    (takes the passport, then looks up at Tall Man’s chest, has to raise her face to look Tall Man in the eye)  
How long will you be visiting?	
TALL MAN	
Not more than a week, I would expect.	
AGENT	
And are you here on business or pleasure? 	
TALL MAN	
A bit of both. Although I suspect this trip will be mostly pleasure. Pleasure is my business, you see.
   (Tall Man places his hand over Agent's hand)
   (V.O.-TC)
And you do see, don't you?	

Camera shows Agent's nipples suddenly erect and pushing against her blouse. Agent blushes, fumbles for the entry stamp, hurriedly stamps the passport, and returns it to the Tall Man.

AGENT	
   (flustered)
Ha-have a nice stay.	

As Tall Man, smiling, passes through the gate, Agent leans forward and collapses against the station.

INT. FIELD'S JEWELRY STORE A - DAY 

A Fine Jewelry Shop located inside a building. A glass door has the lettering "Field's Fine Antiques and Jewelry". A Shopkeeper (Field--elderly, fastidiously dressed male) is putting rings and stones in a safe. The door buzzer sounds. Shopkeeper looks up at a clock that shows 5:08. Shopkeeper shakes his head, and continues putting stones back in the safe. The buzzer sounds again.

SHOPKEEPER	
We're closed. Please come back tomorrow.
   (buzzer sounds again)
   (calls out again slightly louder)
I'm sorry, we're closed.	

Camera shows Catherine outside of the door tapping her foot, her arms crossed. She is wearing thin white gloves.

CATHERINE	
   (pouts)
But I want to play.
   (Catherine taps door buzzer several times)	
SHOPKEEPER (O.S.)	
   (O.S., from behind the door, angrily)
I said we're closed!	
CATHERINE	
And I say you're still open. 
   (V.O.-TC)
Open the door. 	

Camera turns back to the Shopkeeper. Shopkeeper puts down a tray of rings on the counter, and walks over and unlocks the door.

SHOPKEEPER	
   (slightly confused)
I-I'm sorry Miss, but we are closed. We'll be open tomorrow at ten.	
CATHERINE	
   (frustrated)
Oh, but Daddy and Donna leave for Europe tonight! I've just got to have something special for the party!
   (V.O.-TC)
Let her in. This one is spoiled, but rich.	
SHOPKEEPER	
Well, I suppose, if you have to have something special for tonight.
   (beat)
Please, come in, Madame. I'm sure we can find something for you.
   (shopkeeper opens the door. Catherine pushes past him into the shop)
What did you have in mind?	
CATHERINE	
   (peering into cases)
Oh, I don't know. Something different. Daddy collects Renaissance bronzes. 
  (points at small bronze in front case)
What about that one? It looks like an Antico.	
SHOPKEEPER	
   (suddenly very interested)
Why, yes! 	

Sounds of the Shopkeeper's heartbeat are heard in the background.

CATHERINE	
Was it commissioned by Isabella D'Este herself?	
SHOPKEEPER	
I do not know its complete provenance, but I picked up the piece from a very respectable collector. I am almost certain that the piece was, indeed, commissioned by D'Este.	
CATHERINE	
   (Catherine leans over the case to get a closer view)
   (V.O.)
Not fucking likely! Hundred to one it's a fraud.
   (shopkeeper's heartbeat increases)
Ooooh, Baby. You know it's a fraud, but you're going to go ahead and sell it to me anyway, aren't you? Play for me, Baby!
   (spoken)
Oh, it's lovely. May I see it?	
SHOPKEEPER	
   (hesitates slightly)
Of course, Madame. 	

Shopkeeper unlocks the display case, and hands the bronze to Catherine. Catherine takes the piece, and examines it.

CATHERINE	
   (V.O.)
It's a forgery by Gerbier, isn't it? 	

Heartbeats increase in speed and volume. Catherine closes her eyes and shudders.

SHOPKEEPER	
Oh, I fully understand how you feel, Madame. Every time I see the piece I feel a sense of awe!	
CATHERINE	
Oh, really?
   (V.O.)
The fuck you do!
   (dreamily)
Damn, that man had hands! 	

INT. FLASHBACK-SCULPTOR'S STUDIO - DAY 

Flashback scene--Camera pans over a small Sculptor's Studio, 1800's--until it reaches a small cot. Catherine is semi-naked, half draped with a sheet, in bed leaning back against a male lover who is caressing her hair and breasts from behind. Catherine turns her head back for a kiss. Flashback ends. 

INT. FIELD’S JEWELRY STORE-B - DAY 

Continuation of Scene- Field’s Jewelry Store.

CATHERINE	
It's simply marvelous!
    (suddenly puts down the bronze and pouts)
Oh, but Daddy says there is a private collection that he may be able to steal in Zurich next week.
   (shopkeeper's pulse jumps again. Catherine smiles conspiratorially)
That's the real reason he's going to Europe in the off season. The son of the Nazi son of a bitch that stole the pieces is dying, and his heirs don't want any publicity.
    (a little more animated)
Daddy says there's a Bandinelli, a Riccio, and at least two pieces by Adrien de Vries!
   (V.O.)
You really have no clue what I'm talking about, do you? But you're jacking the price up with every word.
   (spoken)
But we'll have to move fairly quickly. Daddy thinks the attorney may be in contact with Thomas Williamson at the Victoria & Albert.	
SHOPKEEPER	
   (eyebrow lifted)
Well, Madame, Mr. Williamson is certainly stiff competition.	
CATHERINE	
   (V.O., amused)
Not highly likely, since I just made him up.
   (spoken)
Oh, most definitely!	
SHOPKEEPER	
It is not every day that such a connoisseur of small bronzes visits this shop. Therefore, Madame, it behooves me to ensure that we satisfy such a fine new customer. Tell me, what can I do to send this fine piece home with you?	
CATHERINE	
Why, simply wrap it, of course!	
SHOPKEEPER	
   (smiling broadly)
My pleasure, Madame. I...	
CATHERINE	
   (V.O.-TC)
Never mind, just die! 	

Shopkeeper's heart beats become much faster and louder.

SHOPKEEPER	
   (stricken)
I.
   (beat)
I.	
CATHERINE	
Just let me get my checkbook out. 
   (fumbles around in her purse, starts giggling)
Silly me, I forgot to ask you how much. 
   (scolding)
Now, don't tell me you want more than sixty thousand for that little thing!	
SHOPKEEPER	
S-sixty thous....	

Shopkeeper gasps and collapses. Heartbeats cease. Catherine shrugs, then walks around the display case and takes the Shopkeeper's keys. She unlocks the Shopkeeper's office, steps into the office, locates a VCR for the security camera, removes the tape, giggles and takes a clearly identifiable adult video tape out of her purse and inserts it into the VCR, and leaves the office. She walks over to the cash register, removes the day's receipts, scoops up a tray of loose stones and pours them into her purse. She tries on a couple of rings, then pours the tray into her purse. She picks up the bronze, tosses it in the air, and catches it in the purse. She starts walking towards the door, stops, smiles, and walks back to the cash register. She takes a small cloth out of her purse and wipes off the cash drawer, then takes off her right glove, and leaves a full thumb print on the cash drawer. Catherine blows a kiss to the Shopkeeper and leaves.

INT. COFFEE SHOP - DAY 

A small diner--the Tall Man is seated in a booth, finishing a cup of coffee. 

CATHERINE (V.O)	
   (V.O.-TC)
Never mind, just die! 	

Tall Man spills his coffee. 

TALL MAN	
   (to himself)
So young and careless. 	

Coffee Shop Waitress (CS Waitress--buxom, approaching forty, trying to look mid twenties) comes over to help clean up the spilled coffee.

CS WAITRESS	
Are you all right?
   (Tall Man does not notice her at first)
Hey, are you okay?	
TALL MAN	
Oh, sorry. Yes, I'm fine. Thank you. I was in an accident recently. I still get an occasional twinge.	
CS WAITRESS	
Yeah, I understand. I was in a car accident a couple of years ago. My legs got banged up pretty good. 	
TALL MAN	
   (looks down and examines Waitress' legs)
Well, your legs appear to be quite fine, now.
   (Waitress leans over table to wipe up spill giving Tall Man a close up view of her cleavage)
I see other parts of you are quite fine as well.	
CS WAITRESS	
   (Waitress grins and fans herself) 
Whew, better watch yourself. Talk like that really pushes my buttons.	
TALL MAN	
   (Confused)
Pushes your buttons?	
CS WAITRESS	
   (Leans closer)
You know, Sugar, it turns me on. Say, you're not from around here, are you? 
   (Tall Man smiles, and shakes his head no)
I get off at ten.	
TALL MAN	
That's very interesting. But unfortunately, my business will take me far from here by then. Still, you are entitled to a nice tip. What do you suppose would happen if someone pushed all of your "buttons" at the same time?	
CS WAITRESS	
   (laughs)
Why, I don't know.
   (coyly)
No one's ever done that before.
   (Tall Man nods, then reaches under her skirt and grabs the inside of her thigh)
What are you...? Oh, oh, oh my God! 
   (Waitress' mouth forms an "O", but no further sound comes out of her mouth. Her eyes roll up, and she faints)	
TALL MAN	
Check? On the house? Well, if you insist.	

Tall Man picks up his coat, steps over the prone Waitress, and exits the diner.

INT. FIELD'S JEWELRY STORE C - DAY 

The doorway to "Field's Fine Antiques and Jewelry". Jeweler's body is being wheeled away by Coroner's office attendants (males, early twenties). One turns back.

ATTENDANT	
   (looking into the shop)
Hey, Detective Hobson! Can I have that video when you guys are finished with it?	
HOBSON (O.S.)	
   (from inside the shop)
Who the fuck said that?	
ATTENDANT	
   (to Attendant's partner)
Time to go!	

Camera follows the attendants removing the body. Several spectators are watching. Camera shows Catherine dressed as a custodian.

INT. POLICE DETECTIVE BUREAU A- DAY 

A Police Detective Bureau--Two detectives (William Hobson--black male, thirties, military crew cut, muscular martial artist, Marshall’s partner, and Carol Marshall-tall female, short dark hair, tough and cynical, mid-thirties) are sitting at their desks. Captain walks out of the Captain's office, pours a cup of coffee and walks over to the two detectives.

HOBSON	
Morning, Captain.	
MARSHALL	
Ready for some bad news?	
CAPTAIN	
You know, Marshall, it wouldn't kill you to say good morning first like your partner. 	
MARSHALL	
Yeah, but Hobson's a fucking brown nose who is bucking for Lieutenant. Me, I have no such ambitions.	
CAPTAIN	
Right, so Mary Sunshine, what have we got today?	
MARSHALL	
The Field's Jewelry Store robbery is still a robbery for the time being. Coroner's report on Field shows death by natural causes, acute myocardial infarction. Not a mark on the body. But this case still belongs to homicide.	
CAPTAIN	
It doesn't sound like it. Sounds like an opportunistic thief finds the door open, and Field dead, after conveniently leaving the safe and the cash register open.	
HOBSON	
Possibly, Captain, but doubtful. The thief was smart enough to take the surveillance tape out of the video system. And this wasn't the thief's first robbery. We had several hits on the thumb print the techies lifted from the cash register.
   (picks up several pages of computer printout sheets, and flips through them)
Fifty-seven hits to be exact, going all the way back to the 1950's worldwide. Always the right thumb, and no other digits. It's a god-damn signature, not a forensic mistake. The print is always right where the lab techs are sure to find it. The thief always takes coins, jewels, or other small, easily fenced items, but never paper except for any cash on hand.	
MARSHALL	
The only apparent exception to the rule was in London in 1972. The thief took a small Flemish oil painting of a small convent entitled "The Sanctuary", signed by an unknown artist Fiona. There were better pieces available that were not touched. So the thief either had a special order, or just liked it.	
HOBSON	
The geniuses in forensics tell us that based on the size of the thumb print, they estimate that the owner is no more than about five three or four, and one hundred fifteen to one hundred thirty pounds. In several of the prior cases, there are sworn witness statements that identify the suspect as a six foot seven inch, two-hundred eighty pound Black male with dreadlocks, a six foot, hundred sixty pound Asian female who spoke with an Italian accent, a five foot ten Arab, a six foot four Swede and about fourteen other unshakable sworn eyewitness descriptions, with no two alike.	
MARSHALL	
In most of the cases where there are no witnesses, the shops had fairly sophisticated security systems which were bypassed with no evidence of tampering. In several cases, there were similar shops in the immediate vicinity that would have been much easier to break into. The shops that got hit appear to have been selected simply because they appeared to be the most secure. But not one case has revealed any evidence of an inside job.	
HOBSON	
About a week to ten days after one of these hits, there are always large donations made to orphanages or women's shelters in the name of the store that was robbed. The donations usually total about a quarter of the value of the theft.	
CAPTAIN	
So you're telling me that for the last half century, a ghost has been knocking off jewelers to play Robin Hood? It still sounds like robbery to me.	
MARSHALL	
No, Captain, it's a homicide. We forgot to mention, that in five of the prior cases, the owner or shop clerk died of natural causes at the time of the robbery.	
CAPTAIN	
So is the thief using some kind of hallucinogenic?	
HOBSON	
Whatever it is, it didn't show up on any tox panels. And this asshole's been using the stuff for fifty years. 	
CAPTAIN	
Put the word out to the women's shelters and orphanages. I want to know the second any contributions appear in the name of Field's.	
MARSHALL	
Already on it, Captain	
CAPTAIN	
Get on the phone. If there are fifty-seven priors, you've got a couple of hundred other detectives around the world who know something about this guy. Find out everything.	
HOBSON	
Already on it, Captain	
CAPTAIN	
Keep me informed.	
MARSHALL	
   (sweetly)
Why, Captain, don't we always?	

Captain raises a finger to make a point, then thinks better of it. He smiles, shakes his head and walks back to his office.

HOBSON	
   (to himself)
So who's the fucking brown nose?	

INT. WOMEN'S GYM - NIGHT 

A Women's gym. Camera shows Det. Marshall on a bench lifting free weights. Catherine in sweats, walks over to watch her. Catherine licks her lips. Camera briefly shows Marshall without her shorts, still lifting, and Catherine kneeling with her head between Marshall's legs. Camera shows Marshall, once again fully dressed, appearing momentarily to lose her grip on the bar. Catherine, still standing, reaches over and steadies the bar.

CATHERINE	
I'm sorry! I didn't mean to startle you.	
MARSHALL	
No problem. The bar just slipped.	
CATHERINE	
I've been watching you. You've got good form. 
   (V.O.)
Definitely, good form!	
MARSHALL	
   (exhales heavily)
Five.
   (deep breath)
Six.
   (Catherine helps spot the weights back to the rack)
Thanks.
   (sits up, takes a sip from a bottle and grabs her towel)
Don't think I've seen you in here before.
   (extends hand to shake)
I'm Carol.	
CATHERINE	
   (shakes hands)
I'm Catherine. I'm new in town. This my first visit here.
   (looks at the bar)
Hey, that's great! Pressing your weight. I'm impressed! 	
MARSHALL	
Thanks. In my line of work, it pays to be in shape.	
CATHERINE	
Well, you sure have that part down.	
MARSHALL	
   (grabs her towel, and starts walking towards locker room)
Nice meeting you. 	
CATHERINE	
Same here. I'm sure we'll see each other again. 	

Marshall turns and walks off to the locker room. Catherine watches her leave. As soon as Marshall is out of sight, Catherine adds one hundred pounds of weights to the bar. Catherine lies down on the bench, and rips off ten quick bench presses. She sits up, looks at the weights, then waves at them in disgust.

CATHERINE	
Fuck it.	

INT. DEPARTMENT STORE-ELECTRONICS - DAY 

A Department Store Electronics Department--dozens of televisions are showing footage of an earthquake disaster. Catherine is standing watching with tears streaming down her cheeks. Camera shows television screen with earthquake disaster scenes.

FEMALE TV ANNOUNCER (V.O.)	
The death toll is still rising. Official sources estimate at least five hundred people are dead or missing. But no one really knows for certain. Fires are still raging out of control in several districts. 	
CATHERINE	
   (softly)
Fiona.	

A male sales clerk (Ted-early twenties, more comfortable with the electronics than with people), approaches Catherine and holds out a handkerchief for her. She does not notice him at first, and continues to stare at the television.

FEMALE TV ANNOUNCER (V.O.)	
Relief efforts have been hampered by bad weather. The World Trade Organization meetings are postponed. This is Angela York reporting from Rio.	
CLERK	
Excuse me, Miss. Are you all right?	

Catherine, startled, tries to stifle a sob, causing her chest to heave. Clerk's eyes shift to her chest.

CATHERINE	
   (V.O., angry)
Animal!
   (takes the offered handkerchief)      
   (spoken)
Th-Thank you. 
   (uses handkerchief noisily, hands it back to Clerk who does not know what to do with it. Clerk looks around for somewhere to put the handkerchief, then finally puts it in his pocket. Catherine, still sniffling continues)
It.
   (beat)
It's my sister. She's.
   (beat)
She's... 	
Catherine starts crying again in earnest, then points to the television screen. An image of Fiona appears transposed over the television. Image continues to solidify as transition to a flashback scene.

INT. FLASHBACK-SANCTUARY-1680 - DAY 

Flashback Scene -- 1680 -- A wooden bench by an arbor. Young Catherine (in late 1600's garb), age fourteen, is sitting on the bench crying.

FIONA	
There you are! Why are you crying?	
YOUNG CATHERINE	
Go away.	

Fiona sits down next to Young Catherine. Young Catherine turns her back on Fiona. Fiona reaches over and touches Young Catherine on the low back.

YOUNG CATHERINE	
   (flinches and cries out)
Ow! Don't touch me!	
FIONA	
So, one of the Ancients birched you again. What did you do this time, Little One?	
YOUNG CATHERINE	
   (sharply)
Leave me alone!	
FIONA	
   (V.O.-TC)
Don't use that tone with me, Catherine, unless you would like to go cut another switch.
   (spoken) Come here, Little One.
   (Young Catherine turns, and accepts a hug from Fiona)
That is better. Now tell me about your misadventures.	
YOUNG CATHERINE	
   (sniffling)
Last night I left the Sanctuary.
   (Fiona shakes her head disapprovingly)
I went into the town. I just wanted to see what people do in town. I wandered around and just looked in windows. As I was walking by a barn, I heard strange sounds from inside. A woman was making strange cries. I went into the barn. There was a woman lying in the straw with her clothes all undone. A man was lying on top of her, bouncing up and down, attacking her. I did not know what to do to help her. Then suddenly, like you and the Ancients, I just gave him my thoughts. 	
FIONA	
   (softly)
What thoughts did you give him, Little One?	
YOUNG CATHERINE	
   (buries her face in her hands)
   (V.O.-TC)
I told him to die! 	

Fiona starts at unexpectedly being addressed in her head. Young Catherine starts bawling. She buries her head in Fiona's chest. Fiona hugs and rocks her until she settles down a little. Fiona takes the hem of her skirt, and wipes Young Catherine's face.

FIONA	
Sh, sh, sh. Tell me what happened.	
YOUNG CATHERINE	
   (haltingly)
I- I was surprise that the man heard my thoughts. The man was surprised too! He straightened up, then he grabbed his chest and fell off of the woman. I started out of the shadows to go to the woman, but she suddenly looked like she was in great pain. She bent over the man, held him tightly, then started screaming! She was concerned about the man that was attacking her! I was going to go to her, but I heard voices of other people coming who must heard her screams. I stayed in the shadows until everyone left, then came back to Sanctuary. The Eldest was waiting for me when I returned, and ordered me to see her after my morning chores. Since I was in for a birching anyway, I admitted that I went to town. But I did not tell her about the woman in the barn.
   (Young Catherine starts crying again, looks up at Fiona)
   (V.O.-TC)
I was only trying to help her! 	
FIONA	
   (stroking Young Catherine's hair)
Hush, Little One. You did nothing wrong by trying to help a Sister in need. You could not have known that the woman was just playing, and did not really need any help.
   (puts a hand under Young Catherine's chin and lifts her face up)
   (V.O.-TC)
Look at me, Little One. You know what you did a few moments ago?	
YOUNG CATHERINE	
   (sniffling)
What?	
 FIONA	
   (V.O.-TC)
   (Gently)
You talked to me in my head.	
YOUNG CATHERINE	
   (shakes her head no in disbelief)
No, I did not.	
FIONA	
   (V.O.-TC)
Yes, you did. Twice. You're growing up. Try it again.
   (Young Catherine closes her eyes and scrunches her face. Fiona laughs)
No, no, no. Relax. Just be calm, and reach out to me.	
YOUNG CATHERINE	
   (relaxes her face, beat)
I cannot.	
FIONA	
   (V.O.-TC)
Yes, you can. Try again.	
YOUNG CATHERINE	
   (V.O.-TC, very loud)
I CANNOT DO IT!	
FIONA	
   (startled, V.O.-TC)
Whoa, Little One! There is no need to shout. See, you can and you did! It will become easier as you do it more often. But, now I need you to listen very closely. You are at a very dangerous age. The villagers do not talk to each other in their heads. They do not understand others, like we Sisters, who do. Sometimes, depending on how you send your thoughts, others may act out your thoughts. This is very scary to the one who receives these thoughts.  The villagers fear what they do not understand. If you ever let them know that you can talk in their heads, they will try to kill you. So you must never let them know what you can do. You must be very careful! Do you understand me? 	
YOUNG CATHERINE	
   (V.O.-TC)
Yes, Auntie, I will be careful.	
FIONA	
   (leans over and kisses the top of Young Catherine's head, V.O.-TC
I know you will, Little One.
   (laughs)
Although if you are learning to speak in other's heads, then you are not such a little one any more.	

INT. DEPARTMENT STORE-ELECTRONICS 2 - DAY 

Continuation of Scene Department Store-Electronics. Camera shows more earthquake damage on television.

CLERK	
   (looks at television screen)
Oh, God! Your sister's there? 	

Catherine, still crying, nods and holds out her hand for the handkerchief. Clerk does not understand.

CATHERINE	
   (V.O.-TC)
Give her the handkerchief, you cretin.	
CLERK	
S-sorry!
   (pulls out handkerchief and hands it back to Catherine)
Here.
   (Catherine uses it again loudly and attempts to hand it back to him. Clerk holds up his hand in refusal)
No, please, keep it! 	
CATHERINE	
   (A bit more composed)
Thank you. 	

Clerk walks over to the controls and changes the program on the televisions to a football game. Clerk walks back over to Catherine who is settling down.

CLERK	
I'm really sorry about your sister.	
CATHERINE	
   (Nods and tries to smile)
I'm just so worried! 	
CLERK	
Is there anyone you could call?	
CATHERINE	
No, I'm new in town, and my Sister is my only family.
   (V.O.-TC)
She's vulnerable, idiot. Ask her out to console her!	
CLERK	
Look, I get off at six. Maybe we could, uh....
   (trails off) 	
CATHERINE	
   (Looks at Clerk questioningly)
   (V.O.)
What do I have to do? Lead you to dinner by the cock? If I have to put the words in your mouth, it's going to cost you a fucking lobster.
   (V.O.-TC)
Have dinner, say it, have dinner.	
CLERK	
Maybe have dinner, or something.	
CATHERINE	
   (sniffles a couple of times, then smiles sweetly)
That's very kind of you. I , I would like that...
   (leans over to read his name tag, continues)
Ted. Thank you. But not tonight. I couldn't. I have to check on my sister. Perhaps Saturday? I could be back here at six.
   (takes his hand and puts handkerchief in it)	
CLERK	
   (looks down at handkerchief, but ends up looking down Catherine's cleavage as she leans forward. Snaps head back up)
Sure! Great! Saturday, at six, then. 
   (Clerk does not know what to say or do next)
Right.	
CATHERINE	
Right. I'll see you then. Bye.	

INT. DEPARTMENT STORE-COOK WARE - DAY 

Catherine gives a little wave, turns and walks out of the electronics department. Camera follows her to the Cook Ware Department. She begins examining carving knives and cleavers. Cheery Female Clerk (FC) comes over to assist her.

FC	
Can I help you find something?	
CATHERINE	
I'm looking for something special. I want something that will cut through raw meat like butter. 	
FC	
Oh, we have several fine knives that will do that. Were you looking for a set, or just a carving knife?	
CATHERINE	
Just a single knife.	
FC	
And how much were you looking to spend?	
CATHERINE	
Oh, price is no object. The more expensive, the better.	
FC	
We have got some terrific restaurant quality pieces that I think you'll really like.
   (FC walks over to a display and selects a large carving knife)
This one is imported from Germany. It has...	

Catherine holds up her hand and cuts off FC's sales pitch. Catherine takes the knife from FC, and examines it.

CATHERINE	
   (looks back over to electronics department, V.O.)
I'll think of you Saturday night, Fiona, while I emasculate that miserable animal in your honor.
   (spoken)
This one will be fine. Do you gift wrap?	
FC	
Certainly. I can do that for you right here.	
CATHERINE	
That's wonderful. Oh, and one more thing, 
   (V.O.-TC)
pay for it yourself!	

INT./EXT. TOBACCO SHOP/ALLEY - DAY 

Tobacco Shop--Tall Man is browsing through the most expensive cigars. He selects several boxes of the most expensive items, and walks to the door. Tobacconist runs after him.

TOBACCONIST	
Excuse me, Sir! 	
TALL MAN	
   (smiles broadly)
New father! Twins!
   (V.O.-TC)
Your money is on the counter. Keep the change.	

Tobacconist looks on the counter. Five one hundred dollar bills are fanned out on the counter.

TOBACCONIST	
Thank you, Sir! Congratulations!	

Tall Man nods, and exits the store. Tobacconist picks up the bills, and opens the cash register. Camera pans in on the drawer. Tobacconist places five play money $100 bills in the drawer. Drawer closes. Camera cuts to Tall Man walking down an alley, passing out cigars to vagrants. Two men approach Tall Man. One of the men (Thug 1) pulls a knife. Tall Man holds out a cigar.

THUG 1	
Fuck that, Man! Give us your wallet! 	
THUG 2	
And your coat, too. Move it, or you're going to hurt bad!	
TALL MAN	
Cigar? I'm a new father! Twins!	
THUG 2	
   (slaps the cigar away)
Your wallet, now, asshole!	
TALL MAN	
Some people are so rude! Let me set down my cigars. 	

Tall Man puts down his cigar boxes. As he straightens up, he grabs Thug 1's wrist (the hand holding the knife) with one hand, pulls that hand over, and stabs Thug 2 in the belly, then rips upward covering himself and Thug 1 in blood. With the other hand, he grabs Thug 1 by the throat.

TALL MAN	
   (lecturing Thug 1)
The proper response when someone offers you a cigar to celebrate the birth of a child is 'Thank you, congratulations,' or 'No thank you, I do not smoke. But, congratulations.’ “Your wallet, now, asshole,” is never appropriate. Not even in America. Do you understand?	
THUG 1	
   (terrified and choking)
Oh, God! I understand! Please, I understand!	
TALL MAN	
You are an excellent student! 	

Tall Man crushes Thug 1's throat and tosses him aside. He bends over, picks up his cigars, and continues down the alleyway.

TALL MAN	
   (smiling and holding out a cigar to a horrified bag lady)
I'm a new father! Twins!	

INT. POLICE DETECTIVE BUREAU B - DAY 

Captain comes storming up to Detective Marshall's desk. Telephone rings on Marshall's desk.  Marshall picks it up.

CAPTAIN	
It has been eight days, people! What have you got?	
MARSHALL	
   (holds up hand to acknowledge the Captain)
Speaking. Yes, Sister.
   (beat)
When?
   (beat)
555-8766. Got it. Thank you, Sister. Bye. 
   (hangs up phone)
We've got a hit. An east side women's shelter got a telephone call telling them to check their bank account. Field's Fine Antiques and Jewelry just made a sizable donation. The Sister's already authorized the bank to release any information about the deposit to us without process.
   (phone rings again, and Marshall picks it up)
  Sergeant Marshall.
   (beat)
Hello. I was about to call you. Sister Cecilia said that she authorized the bank to release information about a recent donation deposited in the name of Field's Fine Antiques and jewelry.
   (beat)
Wire transfer from the Grand Caymans. 
   (phone rings on Det. Hobson's desk. Camera shows Hobson answering, but immediately returns to Marshall)
Instructed you to do what?
   (beat)
Thank you. You've been very helpful. I will call you back if we need any other information. Bye.
   (stares at the phone for a moment before hanging up)
You're going to love this one, Captain. The contribution was wired from the Grand Caymans. There were separate faxed instructions directing the bank to call Sergeants Marshall or Hobson to confirm receipt.	
HOBSON	
   (finishing telephone conversation) 
Zero four zero two. Got it. Thank you very much. Bye.
   (hangs up the phone)
Captain, you aren't going to believe this! That was the bank for the Brookside Children's Home. They were instructed....	
CAPTAIN	
   (cuts him off)
Asshole's playing with us!
   (Captain spills his coffee)
Shit! Get that son-of-a-bitch!	

INT. WOMEN'S GYM 2 - NIGHT 

WOMEN'S LOCKER ROOM AT GYM--Marshall is sitting on a bench, sweated up with her head down and a half empty water bottle in her hand. Catherine comes around the corner of the lockers. Marshall looks up.

CATHERINE	
Carol, right?	
MARSHALL	
Hi.
   (points her finger at Catherine)
And you're Catherine. Damn, we're good!	
CATHERINE	
Looks like you've just finished two triathlons.	
MARSHALL	
Feels like it. Just trying to clear my head, and it's not working worth a damn.	
CATHERINE	
   (V.O.)
I could blow in your ear, if you think it would help.
   (spoken)
Really? What's the matter?	
MARSHALL	
Work, of course.	
CATHERINE	
Oh, I see. You hate your job.	
MARSHALL	
No, actually I love my job. I'm a detective. 	
CATHERINE	
   (hands fly to her mouth, assumes horrified expression)
My God! I never suspected. You look so human!	
MARSHALL	
Very funny. So do you.
   (stands up, opens her locker, and begins getting undressed)	
CATHERINE	
   (V.O.)
Aha, but that's where you're mistaken, Watson!
   (spoken)
So what's wrong at work?	
MARSHALL	
Nothing. Everything. I'm working this really bizarre case. 	
CATHERINE	
Bizarre works for me. Tell me about it. No, no, no, wait! Don't tell me anything. I always think better with food. Are you hungry? 
   (V.O.-TC)
Actually, you're starving!	
MARSHALL	
Yeah, actually, I'm starving! I didn't have time for lunch. 	
CATHERINE	
   (V.O.-TC)
Surprise yourself. Ask her to dinner.	
MARSHALL	
   (momentarily confused)
Um...
   (beat)
you want to go grab something?	
CATHERINE	
   (smiling brightly)
That would be great. Go take your shower. Then you can find us somewhere with a decent wine list. 	
MARSHALL	
Then we've got a problem. I can lecture you for days on beer, but I don't know a damn thing about wine. 	
CATHERINE	
Oh, don't worry about it. I can help you out. Go take your shower.
   (V.O.)
I can help you in there, too, if you need it.
   (watches as Marshall walks to shower. A tear falls down her cheek)	

INT. FLASHBACK-SHOWER - NIGHT 

Flashback-Catherine and Fiona--in a shower. Catherine is soaping up Fiona's chest from behind.

FIONA	
   (Hands an angled bath brush to Catherine)
Be an angel and get my back. 
   (Catherine takes the brush, and gives Fiona a smack on the bottom)
Ow! Better watch that. Two can play that game!	
CATHERINE	
   (giggles)
Promises! Promises!	

Catherine soaps and briefly scrubs Fiona's back. Catherine sets down the brush, then cups Fiona's breasts from behind and start rubbing her own breasts against Fiona's back.

INT. CHURCH - NIGHT 

The Golden-eyed Man (GEM) walks up the aisle of a church. He is not noticed by the priest or the sparse flock. He pauses to listen to an elderly woman mouthing silent prayers, then leans over and kisses her on the top of the head. Old woman stops praying and looks around.

GEM	
You'll will be with him shortly. 	

Old Woman smiles, and starts weeping. GEM turns and continues walking to the sacristy. An alter boy turns suddenly, and Golden-eyed Man passes right through him. Alter boy drops to his knees, his face showing rapture. GEM kneels in prayer.

GEM	
You know she'll kill again, and keep on killing. She mourns the death of her sister. Please help me serve you better. Please let me find her soon.	

INT. RESTAURANT - NIGHT 

Catherine and Marshall are at a restaurant. Catherine is reviewing a wine list.

CATHERINE	
Are you sure you're not even going to try some?	
MARSHALL	
I told you, no. There is no reason to take up space that could otherwise be filled with beer. My old man and my uncle taught me that was the key to advancing in the ranks.	
CATHERINE	
So you come from a long line of police officers?	
MARSHALL	
Four generations worth.	
CATHERINE	
Don't worry. With all of the recent advances in genetics, there is still hope for your children.	
MARSHALL	
Hey!	

Waitress is bussing the next table. Waitress turns when Marshall says "Hey".

WAITRESS 	
Yes, Ma'am. Are you ready to order?	
MARSHALL	
   (embarrassed)
Sorry. I didn't mean to be rude. That was her "hey", 
   (points accusingly at Catherine)
not yours.	
WAITRESS 	
Oh, no problem. Take as long as you need. 
    (starts to turn back to other table)	
CATHERINE	
Actually, I think we're ready.	
WAITRESS 	
Great. What can we get for you, this evening?	
CATHERINE	
How hot are your spicy wings?	
WAITRESS 	
We can make them most any way you like, from pretty mild to plate melters.	
CATHERINE	
   (V.O.)
Is that all?
   (spoken)
Let's take a chance on some medium wings, with lots of blue cheese. You like mushrooms? 	
MARSHALL	
Sounds good.	
CATHERINE	
Okay, then let's get an order of the fried mushrooms. I want a house salad with more blue cheese, and no onions. And I want the rib eye. I want it as red as the health department will allow. Tell the chef to just chase the cow around the kitchen a couple of times, then cut my steak.	
WAITRESS 	
You get a choice of sides with that steak. Do want fries, new potatoes, or mixed grilled vegetables?	
CATHERINE	
Fries, extra crispy. I'd like an ice tea with the meal. You have all these wonderful wines to choose from, but Captain Adventure over there doesn't want to try any of them. 
   (pouts, then suddenly cheery)
Oh, well, bring me a glass of merlot. And my friend will have two doughnuts.	
MARSHALL	
Oh, you are just too funny. I'll have the Chef's gourmet taco salad, with extra cheese and sour cream, and a very tall cold beer.	
WAITRESS 	
Thanks. My name is Stacy. Your wings will be right out.
   (exits)	
CATHERINE	
I'm having some trouble with the concept of a gourmet taco salad.	
MARSHALL	
Don't worry, I won't share. So wise ass, why are you giving me such a hard time about being a cop?	
CATHERINE	
   (beat, collects herself, speaks softly)
I was married to one, once.	
MARSHALL	
 (Leans forward, more interested) Oh really? Give.	
CATHERINE	
There is not much to give. It didn't last long. He was very dedicated to his work. It caused...
   (beat)
certain tensions between us.	

EXT. FLASHBACK SERIES-FRANCE 1945-STREET - DAY 

Flashback Series (FBS) of Scenes--1945--France. 

Mob scene on a street. Catherine sobbing, points out a frightened woman (FW). Catherine silently mouths the word "Collaborator". Frightened Woman violently shakes her head no. As Catherine continues to silently mouth words, scene fades.
									CUT TO:

INT. FBS-NAZI OFFICER'S OFFICE - DAY 

FW is sitting in front of a Nazi officer's desk. FW passes an envelope across the desk to the Nazi officer. The officer opens the envelope, takes out and reads a letter, and smiles. Officer reaches into a drawer, and pulls out a pair of nylons. Officer sets the nylons on  the desk. FW reaches for the nylons. Officer slaps her hand. FW smiles, rises and walks around desk, and plants herself on the Officer's lap. Officer takes the nylons, loops them around FW and pulls her closer.

FW	
Animale!	

									CUT TO:
EXT. FBS-ALLEY - NIGHT 

Several Nazi soldiers dragging a man out of his house. Wife is pleading with the soldiers, but gets cuffed aside. Soldiers drag the man to an alley, and shoot him.

									CUT TO:

INT. FBS-NAZI OFFICER'S BEDROOM - NIGHT 

A bedroom scene. Frightened Woman (FW) from start of flashback series is wearing only boots, and the Nazi officer's hat. The officer is naked on all fours on the bed. FW is riding him, and cropping his backside. Officer neighs or brays each time he is cropped. After several seconds, without fading out, FW is replaced by Catherine in the same position and attire.

									CUT TO:				
EXT. FBS-STREET 2 - DAY 

Back to the mob on the street. Catherine is pointing at FW. The mob seizes FW, and strips hers. FW is paraded down the street with cries of "Death to the traitor", "Kill the collaborator", "Murderer", etc. Mob hangs FW from a lamp post. 

Catherine watches mob hang FW. Her hands cover her mouth. She is shaking and crying. Marcel Charbonier comes up to comfort her. He holds her. Catherine buries her head in his shoulder. Catherine takes another quick look at FW's body. She smiles, then buries her head on Charbonier's shoulder again.

									CUT TO:

INT. FBS-CHARBONIER'S APARTMENT - NIGHT 

Charbonier carrying Catherine in a bridal gown across the threshold of his apartment.

CHARBONIER	
Welcome home, Madame Charbonier.            (Charbonier and Catherine kiss)	
CATHERINE	
Oh, Marcel! I am so in love with you!	
CHARBONIER	
But, of course, ma petite chou-chou. You could not help yourself. 	

Charbonier smothers Catherine with another kiss before she can respond.

CATHERINE	
   (V.O.)
Well, at least one of us couldn't!	
									
									CUT TO:

INT. FBS-JEWELRY SHOP A - DAY 

Charbonier in gendarme dress inspecting a dead shop keeper at a jewelry store crime scene. A second gendarme calls to him.

GENDARME	
Inspector Charbonier. Come take a look at this.	

Charbonier goes over to the Gendarme. There is a lipstick heart with a thumb print on top of a glass display case.

									CUT TO:

INT. FBS-JEWELRY SHOP B - DAY 

Charbonier investigating a second crime scene at another jewelry shop. Charbonier is looking at a lipstick heart with a thumb print on the back of a cash register.

									CUT TO:

INT. FBS-CHARBONIER'S BEDROOM - NIGHT 

Catherine and Charbonier in their bedroom. Catherine is at a dressing table brushing her hair. Charbonier comes over and massages her shoulders from behind. There is a copy of Mark Twain’s Life on the Mississippi sitting on the side of the table. He starts to unzip her dress, then pauses and picks up the book, then examines a locket from the dressing table. He sets the locket down, and picks up Catherine's lipstick (the same shade as the crime scenes) and examines it.
 
CATHERINE	
What are you doing, Marcel?	
CHARBONIER	
   (momentarily flustered)
Nothing. Just looking at something.	

Charbonier quickly sets down the lipstick. He resumes massaging Catherine's shoulders, then bends over and starts kissing her neck.

CATHERINE	
   (purrs)
Hmmmm, stop that. I can't brush my hair.	
CHARBONIER	
You can brush your hair later. 	

Charbonier takes the brush from Catherine. He holds her hand with both of his, and starts massaging the back of her hand. Charbonier starts kissing down the length of Catherine's arm. When he gets to her wrist, he turn her hand palm up, and spreads her fingers wide. Starting with the smallest finger, and working back to the thumb, Charbonier kisses each finger, then closes it until only the thumb is open. Charbonier takes a moment to look at the thumb.

CATHERINE	
   (giggles)
Tu es fou!	
CHARBONIER	
   (softly)
More than you can imagine!	

Charbonier kisses Catherine's thumb, and closes it making a fist which he covers with both of his hands.

									CUT TO:

INT. FBS-CHARBONIER'S BEDROOM 2 - DAY 

Scene resolves into morning light streaming into the bedroom. Charbonier is sitting at Catherine's dressing table staring at her mirror. There are tears on his cheeks. In the center of the mirror is a lipstick heart, with a thumb print in the middle.

INT. RESTAURANT 2 - NIGHT 

Continuation of INT. RESTAURANT - NIGHT Catherine/Marshall Dinner

CATHERINE	
   (softly)
He was very good at his job. I didn't really fit in.
   (brightens)
But it was over decades ago. So let's not talk about it. I'm sorry if I have been giving you a rough time. I really want to be your friend.
   (V.O.-TC)
And you really want to be mine. Take my hand.	
MARSHALL	
   (takes Catherine’s hand)
No problem. I really want to be your friend, too.
   (becomes aware that she is holding Catherine's hand. Pulls away self consciously. Continues, obviously embarrassed)
I, you know, I mean, I like you too. I do. I... 
   (at a loss for anything else to say, picks up her water and takes a sip)	
CATHERINE	
   (smiling, takes Marshall's hand back)
It's okay. I think before the night is over, we're going to be very close friends.	
MARSHALL	
   (hesitant)
Yes.
   (beat)
Good friends. 
   (disengages her hand)	
CATHERINE	
So, I was curious. why do you pay to go to the gym, when you can use the Department's facilities for free?	
MARSHALL	
Sometimes I like to just work out without having to prove anything, or show that I belong. I use the Department gym a couple of times a week. But it doesn't matter whether I'm running, swimming, or lifting, there is always some asshole there watching every move I make to see if I really belong there. I hate being a piece of meat. So that's why I pay to belong to a women's gym. Men are animals.	
CATHERINE	
   (V.O.)
No, actually, men are toys. But Males are animals.	

EXT. FLASHBACK - SANCTUARY - ROSE GARDEN - DAY 

Fiona is in a rose garden, cutting blooms. Child Catherine comes up behind her and pulls on her skirt for attention. Child Catherine (C-Catherine) is teary. Fiona turns to give her attention.

FIONA	
Good morning, sleepy head. Why are crying? It is a gorgeous day.	
C-CATHERINE	
I dreamed about my momma. Why did she die, Auntie?	

Fiona takes her skirt and wipes C-Catherine's face. She takes C-Catherine by the hand and walks with her over to a stone bench.

FIONA	
I suppose if you are old enough to dream about your mother, then you are old enough to learn and understand something of our nature. You are not like the children that you see in the village. We are different. They look like us, but are not of our kind. We are much, much
   (beat, searching for word)
older.	
C-CATHERINE	
I do not understand, Auntie.	
FIONA	
Hmmm. Well, when you go down to the stables, what do you see? 	
C-CATHERINE	
There are horses and donkeys.	
FIONA	
Right. They look sort of alike. Are they the same?	
C-CATHERINE	
   (laughs)
No, Auntie! A horse is a horse, not a donkey!	
FIONA	
Well, it is sort of like that with our kind, and those who live in the village. We live a very, very long time. The villagers live only a few short years. Your mother, my twin, and I were born in Vesuvius in the year 472 as they number years in the village. Our mother and her twin, the Elder Anna-Maria, were born there also, in the year 79. Several of the Elders were born long before the years even had numbers. 	
C-CATHERINE	
But why did my momma die?	
FIONA	
Unlike our kind, villagers and their children sicken and die in a few score years. Because the villagers' lives are so short, they have many, many children to keep their village alive. But because we Sisters have such long lives, we do not need as many of us. So when we give birth, there are always twins. But there is a great cost. A Sister must give her life, to feed her children.	
C-CATHERINE	
Why does she have to die?  I have seen the seller in the market just puts her baby to her breast to feed.	
FIONA	
Our kind needs something
   (beat)
more. We need to taste the feelings of those others, like the villagers. We need to feed on their fear and pain. 
   (V.O.-TC)
You know how sometimes the Elders and I talk to you in your head, like this. 
   (C-Catherine nods)
   (spoken)
Well, when one our Sisters gives birth, she sends all of her very strongest thoughts deep into the earth until she has nothing left inside. And the earth responds with shakes and rumbles. When you were born, your mother burned down most of London! It made you very, very strong. 
   (wiggles C-Catherine's nose)
But we barely escaped.	
C-CATHERINE	
But where was my father?	
FIONA	
He was not there. We of the Sisterhood, try to avoid males of our kind. Down in the village, a man and woman will live together their few short years as man and wife. 
And a Sister may live with a village man for as long as he may live. They will not have children. But males of our kind are different. If a male finds a Sister, they will come together to make their twins. A Sister does not have a choice. There is something inside us that knows the male is near, and makes us go to him. But once the male has sired his twins, he has no further interest in the Sister, and he leaves to go prey on other Sisters. The Sister is left to grow her twins, and then die to give them life. 	
C-CATHERINE	
Men are animals, Auntie.	
FIONA	
No, child. You will learn that men are toys. But I would agree that males are animals.	

INT. MARSHALL'S APARTMENT-LIVING ROOM - NIGHT 

Marshall's apartment-Living Room. Catherine and Marshall are seated on the couch. Catherine is opening a bottle of champagne. There are two fluted champagne glasses and a bowl of sliced strawberries on a low table. The cork pops, and the bottle starts overflowing. Catherine tries to lick up the foam.

CATHERINE	
Hate to lose any of it. Put some strawberries in the glasses.
   (Marshall drops several strawberries in one glass, then passes it over to Catherine. Catherine fills the glass, while Marshall prepares the second glass)
You really never tried this before? A sophisticated, big city girl like you?	
MARSHALL	
No. I already told you.
   (hands Catherine the second glass)
As a rule, I don't let anything trespass on the space reserved for beer.	
CATHERINE	
   (fills second glass)
Well, after tonight, you will never look at a beer again without a wistful sigh over the knowledge that you could have had something so much better. Something playful, but piquant and sublime. Something that is at once evanescent and yet, eternal. Verily, as you stare benumbed, at your submundane lager, you will know....	
MARSHALL	
Shut up, and give me the damn glass.
   (Catherine giggles, passes her a glass. Marshall takes the glass, then holds it up and examines it)	
CATHERINE	
Go ahead. It won't bite.
   (V.O.)
But I might.
   (spoken)
Try it.	
MARSHALL	
   (Resigned)
Oh, what the hell? You're only a virgin once. 	
CATHERINE	
  (smiles, V.O.)
Perhaps...	

INT. FLASHBACK-BROTHEL LOBBY-EARLY 1700'S - NIGHT 

Flashback Scene---Brothel Lobby--early 1700's. Fiona is auctioning off a "virgin" Catherine. Every couple of seconds, Fiona's and Catherine's dress changes, and the crowd changes, as denoted by "Change". Fiona's sales pitch continues as if given to a single audience. Fiona, with a crop in hand, is standing before a closed curtain. 

FIONA	
   (V.O.-TC)
You may think that you have seen this wench before. But you are mistaken. Look closely at her. She may remind you of someone, but you have never seen her before. Never before! 

   (spoken)
All right, Milords. I hope your purses are heavy tonight. It is time. Now take a deep breath, because what I am about to reveal will certainly steal it away. Behold.
   (parts the curtain with the crop. Catherine enters, and poses for inspection)
Isn't she lovely? Turn around, Dear. 
   (change)
Look at her, Milords. Eighteen years old, and as pure as the Church on Sundays.
   (change)
Never touched, Milords. I repeat, never touched. Never even kissed! Turn around, Dear.
   (change)
Just imagine. All of the pleasures of a new bride, with none of the lifetime obligations! Perhaps, one of you will have to teach her who is boss.
   (gives Catherine a crack on the bottom with the crop. Catherine gasps)
One of you has to break her in.
   (laughs)
But, of course, only one of you! 

   (change. Fiona comes up behind Catherine, and lifts her head up with the crop)
As the Good Book says, her lips are like honeycomb, and honey and milk are under her tongue. Now, who will be the first to partake of these sweet lips?
   (change. Fiona opens Catherine's blouse to reveal one breast. Catherine whimpers)
Who will be the first to lie like a sachet of myrrh between these perfect young breasts? Take a good look, Milords. Now tell me, what am I bid for young Agnes?
    (change)
For Kathleen?
    (change)
For Collette?	

INT. MARSHALL'S APARTMENT-LIVING ROOM 2 - NIGHT 

Continuation of Scene Marshall's Apartment-Living Room.

CATHERINE	
   (holding empty champagne bottle upside down over her glass. Looks in the inverted bottle)
I think it's dead.	
MARSHALL	
Then you have my permission to put it down.	
CATHERINE	
Oh, thank you, Mistress! You're so good to me. Okay! If the bottle is empty, then it must be time to try the strawberries. Go ahead, try one.	
MARSHALL	
   (takes a sip from her glass, tries to get a strawberry out with her tongue)
How do I get it out? The glass is too full.	
CATHERINE	
Use your fingers.	
MARSHALL	
   (with obvious distaste)
My fingers?	
CATHERINE	
Right, your fingers! Like this.	

Catherine reaches into her glass, pulls out a strawberry, and slowly licks it.

MARSHALL	
Oh, now that's sublime.	
CATHERINE	
   (giggles)
A lemon is sublime. This is pure decadence! Try one.
   (Marshall hesitates)
Just reach right in, and fish one out. 
   (Marshall makes a face, but reaches into her glass and fishes out a strawberry)
That's a good girl. Now put it in your mouth.
   (Marshall takes a bite of the strawberry)	
MARSHALL	
Hmmmm. That is good.	
CATHERINE	
I told you. But mine are better.	
MARSHALL	
What?	
CATHERINE	
I said mine are better.	
MARSHALL	
What do you mean? They're exactly the same.	
CATHERINE	
   (moves closer to Marshall)
Nope. Mine are much, much better.      
   (V.O.-TC)
Much better!	
MARSHALL	
Bullshit! It's the same champagne, and the same damn strawberries.	
CATHERINE	
   (V.O.-TC)
No, mine are much better!
   (spoken)
Sorry, but mine are far superior!  
   (V.O.-TC)
Make her prove it.
   (moves even closer to Marshall)	
MARSHALL	
Okay, then prove yours are better than mine.	

Catherine fishes out a large piece of strawberry from her glass. She puts the strawberry halfway in her mouth, then leans forward to Marshall. Marshall is confused. Catherine continues to lean forward until the strawberry is right in front of Marshall's mouth. Marshall hesitates.

CATHERINE	
   (V.O.-TC)
Take it, Bitch! You know you want it!	

Marshall leans forward, and bites off her half of the strawberry. Marshall chews the strawberry slowly, making a point of rolling it around her mouth and puffing her cheeks out with her tongue.

MARSHALL	
Oh, yes. That was very good. However, it definitely was not as good, of course, as mine.	
CATHERINE	
   (breathy)
Oh, really. Prove it. 
   (Marshall fishes out a piece of her strawberry and presents it back the same way to Catherine)
Too dry.
   (Catherine takes her champagne glass, and pours champagne over the strawberry and down Marshall's chin and neck)
Whoops. My bad. I'll get it.	

Catherine leans forward and licks the champagne off Marshall's chin, then down her neck. She undoes the top button on Marshall's shirt, then continues downward to kiss Marshall's breast. Catherine kisses her way back up to the strawberry, then clamps her mouth over Marshall's.

INT. POLICE DETECTIVE BUREAU C - DAY 

Detective Bureau -- Hobson is in with the Captain. Hobson is sporting a wicked bruise on his upper right cheek. There is a large 1st Place Martial Arts trophy in front of Hobson on the Captain's desk.

CAPTAIN	
He tagged you good.	
HOBSON	
Oh, yeah!
   (rubs the bruise)
The kid is very tough, and very quick. Fortunately, he's not very smart, yet. When he gets a few more fights under his belt, you're going to see his name moving up on the marquee.	

Marshall sticks her head in the Captain's doorway.

MARSHALL	
   (bright and cheery)
Morning, Captain. Hi, Bill. Love the new look.
   (Marshall turns and leaves. Hobson and Captain look confused)	
CAPTAIN	
What in the hell has gotten into her this morning?	
HOBSON	
Maybe she got laid.	
CAPTAIN	
Yeah, and I hit the lottery last night, too. While she's still in a good mood, you better go fill her in on that call from Inspector Charbonier.	
HOBSON	
I'm on it. 	

Hobson picks up the trophy, and leaves Captain's office. Camera follows him back over to Marshall's desk. 

HOBSON	
   (with a British accent)
Detective Marshall, are you free?	
MARSHALL	
   (with British accent)
Yes, Detective Hobson. I'm free.	
HOBSON	
I looked for you after the fight. So, you have a nice night last night?	
MARSHALL	
   (slightly hung over)
First, Bill, not so loud. I'm sorry about that. You know I usually try to be there, but last night something came up. 
   (takes the trophy from Hobson and examines it)
Besides, you obviously didn't need me there. Congratulations, by the way. Second, you're my partner. I trust you with my life. Third, you are also my good friend. So for your protection, we are not going to discuss my personal life, or what I did last night. 
   (with British accent) 
I trust we are unanimous on this point. Now, is there anything else that I can help you with this morning?
   (hands Hobson the trophy)	
HOBSON	
Nothing nearly as interesting. However, you might want to know that we got a response on the Field's matter.	
MARSHALL	
What's up?	
HOBSON	
We got a call from a retired inspector from Paris, a guy named Marcel Charbonier. He's about ninety years old, and failing, but he insisted on talking to me anyway. He agrees that Field is a homicide, and he thinks he knows who is responsible. He also says we're both in danger. You aren't going to believe who the prime suspect is.	
MARSHALL	
So Nicky, quit fucking around with Asta, and tell me who the killer is.	
HOBSON	
Aren't you supposed to pour me a drink first?	
MARSHALL	
   (closes her eyes, and rubs her temples)
Not during business hours, and definitely not this morning. So spill.	
HOBSON	
The killer is...
   (beat)
Charbonier's wife! 	
MARSHALL	
His wife?	
HOBSON	
That's what the man said.	
MARSHALL	
Well that's great. Looks like we can close the books on this one. His wife! Shit! You said the guy was in his nineties. Obviously, he has a well advanced case of senility.	
HOBSON	
I don't know, Marshall. Aside from zee see-lee French accent, he sounded pretty cogent to me. He gave me some facts that are pretty damn close to our case.	
MARSHALL	
Fine. So maybe his wife could have been responsible for the robberies in the 1950's. Or maybe he took a trophy wife, who could be responsible for the Field matter. But the thumb print indicates that the same person has been pulling these jobs off since at least the fifties.	
HOBSON	
I pointed that out to Monsieur Inspector. See, I'm a detective too. But he insisted that it was his wife, the same wife he took in 1945 on New Year's Eve after the liberation of France. He says she's a total sociopath. She lives solely for her own pleasure. And since she obviously knows who we are, we're both in great danger. 	
MARSHALL	
If it's his wife, she has to be pushing, what, at least eighty herself. I'll take my chances. 
   (drums on the desk with a pencil) 	
HOBSON	
Well, before you get too confident, Charbonier explained that she isn't human.	
MARSHALL	
   (laughs, stops drumming with the pencil)
Not human?	
HOBSON	
That's right. He said she is some kind of succubus.	
MARSHALL	
   (amazed)
A succubus, huh?	
HOBSON	
That's what the man said, a succubus. Let me repeat, a 
   (draws out each syllable)
suc-cu-bus.	
MARSHALL	
Oh this is just getting better and better. A succubus is some kind of demon nymphomaniac, right? So what is Charbonier's wife supposed to do? Is she going to screw us to death?	
HOBSON	
I don't know. It might be worth a try. But I don't think so. Charbonier said it's more of a psychic thing. She is supposed to feed off of strong emotions, and tends to prefer pain and anger. So he thinks we should shoot her first, and ask questions later.	
MARSHALL	
Sounds like he's just another pissed off Ex to me. I think I'll take my chances. 
   (resumes drumming with her pencil)
Hey, Bill, assume that it is Charbonier's wife,
   (beat)
what if she is part of some kind of gang? What if they amputated and preserved a girl's thumb? You know, that way they could use the same signature of some long dead girl to take the heat.	
HOBSON	
We'll have to check with the lab. I don't know enough about embalming to say whether you could use the same digit for fifty years, or how you could make an imprint for future use. Strangely enough, though, I even suggested to the Inspector that it might be the work of a gang. But he insisted that it was only his wife. He’s been pretty sick.  But in a couple of days when he can get out, he is going to fax me one of her wedding photos. 	
MARSHALL	
   (rolls her eyes)
Shit, I don’t even want to see my own wedding photos ever again.	

INT. POLICE DETECTIVE BUREAU D - NIGHT 

Detective Marshall is sitting at her desk talking on the phone.

MARSHALL 
No! I can't. I mean, not tonight. I'm fucking exhausted. 
   (beat)
We're getting nowhere on that jewelry case, and the Captain is pissed. He's even threatening to pull me off it, and put me on that public service case where the two muggers got slashed in the alley.
   (beat)
No, really. Not tonight. I'll call you on your cell phone, when I get home. Bye. 	

Marshall hangs up the phone. She picks up her notes, and flips through them. She points to a phone number. She dials the number, but there is no answer. Marshall's pager buzzes. She holds up the pager. There is a message. "911. 10:00. Regency Lobby. Alone!" Digital desk clock shows 7:48. 

MARSHALL	
   (shakes her head)
Shit.	

INT. HOTEL LOBBY/ELEVATOR - NIGHT 

Catherine is standing by the elevators. Marshall comes up to her.

MARSHALL	
   (sternly)
Alright, citizen. What the fuck is the emergency?	

Catherine pushes the button for the elevator. She places a finger over Marshall's mouth.

CATHERINE	
Shhhhh. You're officially off duty. 	

Elevator door opens. Catherine takes Marshall's arm, and leads her into the elevator. When the door closes, Catherine takes out a scarf and blindfolds Marshall.

MARSHALL	
What are you doing?	
CATHERINE	
Shhh. I said you're off duty. You've been working too hard. It's time for you to relax. Until dawn, you just let me take care of you.	
MARSHALL	
Catherine, I can't...	
CATHERINE	
   (cuts her off)
Shhh, shhh, shhh. Not another word.	

Catherine leans over and kisses Marshall. Elevator doors open. Catherine leads Marshall down the hallway to her room.

INT. CATHERINE'S HOTEL ROOM A - NIGHT 

Catherine opens the hotel room. The room is lit by dozens of candles. Catherine leads Marshall into the room several steps, then removes Marshall's blindfold.

MARSHALL	
   (looks around the room)
Damn! 	
CATHERINE	
   (giggles)
Like it?	
MARSHALL	
It's great. But I bet the fire marshall wouldn't approve.	
CATHERINE	
Well, then, fuck him. But later!  Right now, you just sit back and let me do all the work.	

Catherine takes Marshall by the hand, and leads her to the bathroom. The bathroom is also lit by candles. A large bubble bath is drawn in the tub. Two glasses of wine are poured and sitting on the side of the tub. Catherine undresses Marshall, and puts her in the tub. She then undresses and slides into the tub with Marshall. She leans back against the end of the tub, then turns Marshall so that she lays back against Catherine. She hands Marshall a glass of wine.

CATHERINE	
It's not beer, but at a hundred eighty bucks a bottle, you'll have to live with it. 
   (she picks up her own glass, takes a sip and sets it down) 	
MARSHALL	
   (takes a sip of the wine)
Hey, this isn't half bad.	
CATHERINE	
There's hope for you yet, Grasshopper. Now just lie back, and close your eyes. Let the bubbles take away your stress while Momma tells you a bedtime story. Hmmm.
   (beat)
Let's see.
   (beat)
This little tale is called “The Origin of Hot Springs”. The miraculous restorative powers of the waters of the remote, hot, saline mountain lake were well known in every village for one hundred leagues. But equally well known was the fact that access to the lake was strictly prohibited on three sacred nights of each month. Tonight was just such a night, with a bright round full moon. 
Apollo strikes a single note, and Zephyr gently blows aside the vaporescent curtain over the placid lake. A shimmering, silvery path of moon beams runs to the center of the lake, revealing a single adoring supplicant with upraised eyes and hands. Apollo strums his lyre, and Terpsichore rises on point and begins to sway, her hands tracing intricate but unfathomable designs in the moonlight. Then she extends her left arm with a clenched fist, and brings right arm behind her back as if to draw an arrow from an unseen quiver. She gracefully mimes drawing her bow, and taking aim. 	

INT. FIONA'S HOTEL ROOM BATHROOM A - NIGHT 

Fiona and Catherine are in a bubble bath. Catherine is holding a glass of wine. Catherine is laying back against Fiona. Fiona is stroking Catherine's temples.

FIONA	
Apollo quickens the tempo. Terpsichore, instantly changing roles, appears suddenly alarmed. She casts a furtive glance behind her, then raises up and bounds forward, darting across the lake in two-meter leaps, but leaving nary a ripple to mark her passage. As she pauses and cocks her head to listen for pursuit, Apollo returns to his original theme, and Terpsichore reverts to the role of the huntress. She furtively and gracefully stalks her prey back to the center of the lake. Once there, she again draws her bow, but this time looses a deadly shaft. 
Apollo changes tempos once again, and Terpsichore in arabesque, instantly plays the stricken prey. Slowly, inexorably, her leaps shorten, and her hands go limp and fall to her sides. She drags her right leg in glissade for a stride or two, then gently lays down back in the center of the lake, as Apollo draws the first divertissement to a close. 	

INT. CATHERINE'S HOTEL ROOM B - NIGHT 

This is a continuation of Catherine and Marshall in the bubble bath. Catherine is still telling her story.

CATHERINE	
Apollo smiles and whispers to Zephyr. Zephyr nods, takes a deep breath, and rolling his tongue blows out several quick staccato blasts, sending short, choppy waves towards the center of the lake. Apollo raps his lyre three times and launches an impromptu dance that Terpsichore has never heard. She is momentarily shocked, but instantly elated. Although this is not what they rehearsed, Terpsichore seizes Apollo's gauntlet, and launches herself into a new and frenzied performance. After all, she is the embodiment of improvisation. 
Terpsichore leaps and spins, touching down on the crests of each wave. Without warning, Apollo changes tempos, 3/8, 5/4, 6/8, and more, but always an allegro, allegro vivace, allegro deciso. Apollo's pulsating, martial rhythms resonate deeply within Terpsichore. She spins in fouette and seizes a moonbeam, pirouettes and snare two more. With each entrechat, Terpsichore gleefully gathers in more of the elusive moonbeams, until with a final exuberant jete, she seizes the final moonbeam, plunging the lake into total darkness. Apollo finishes his final rising glissando as Terpsichore finishes her leap, and abruptly cuts off the music leaving the lake silent. 	

INT. FIONA'S HOTEL ROOM BATHROOM B - NIGHT 

This is a continuation of Fiona and Catherine in the bubble bath. Fiona is still telling her story.

FIONA	
Terpsichore races back to the center of the lake. She hurls the captured moonbeams skyward where they explode, coruscating and bathing Terpsichore in their radiance. As Apollo strikes a final resolving chord, the moonbeams coalesce back into their original shimmering silvery reflection. Terpsichore, her eyes and heart filled with adulation, bends her knee, and again raises her arms to the moon in supplication. 
Artemis applauds vigorously as she and her great silver hounds glide down a moonbeam to the lake. Apollo bows, and departs. A final playful puff billows and raises Terpsichore's tunic, affording Artemis the briefest glimpse of the treasures concealed therein, as Zephyr takes his leave. As they alight, Artemis scratches one of the hounds behind the ear, then nods. The two hounds race off to guard the pass, and ensure their Mistress' privacy. 	

INT. CATHERINE'S HOTEL ROOM C - NIGHT 

This is a continuation and conclusion of Catherine and Marshall in the bubble bath. Catherine pauses and takes a sip of her wine.

CATHERINE	
Artemis opens her arms, and Terpsichore flies to her embrace. Artemis runs her fingers through Terpsichore's golden hair. She softly kisses Terpischore's forehead, relishing the salty taste of her sweat. Artemis pulls Terpsichore's hair back, and teases her tongue over Terpsichore's neck before gently brushing her first kiss on the moist and waiting lips. Artemis opens her tunic, and places Terpsichore's hands on her breasts. She reaches down and cups Terpsichore's firm round bottom. As they slowly slip beneath the watery covers, their tunics are left like ephemeral flotsam, bobbing on the surface. As the lake begins to roil, the source of the lake's wondrous heat is revealed to several voyeuristic shades. 	

Catherine drops one hand under Marshall's chin, and lifts her face upwards. Catherine leans over and kisses Marshall.

CATHERINE	
Take a deep breath.	
MARSHALL	
What?	
CATHERINE	
Take a deep breath! 	

Catherine leans over and kisses Marshall again. Catherine then slides their heads under water.

INT. POLICE DETECTIVE BUREAU D - DAY 

Captain is standing by Detective Marshall's desk.

CAPTAIN	
So Hobson tells me that you’ve seen her, what, six nights in a row?	
MARSHALL	
Well, not that it’s any of your fucking business, Captain, but including my place last night, it’s only five nights out of the last six.	
CAPTAIN	
Damn, to be young again.
   (holds up a report)
I read your report on the Field’s homicide again. I can’t believe that you can tie this case to dozens of other crimes, but no other detective has any useful information on this shit.	

Hobson walks up and passes a faxed photo over to Marshall. The fax is grainy, but clearly recognizable as Catherine in a wedding dress.

HOBSON	
That’s not entirely the case, Captain.	
MARSHALL	
   (looks at fax, eyes go wide)
Jesus fucking Christ!	

INT. MARSHALL'S APARTMENT-BEDROOM - DAY 

Marshall's bedroom. Catherine is naked in Marshall's bed. She wakes, and stretches languidly and yawns. She rolls over and finds a note on Marshall's pillow. Catherine picks up the note and reads it.

MARSHALL (V.O.)	
   (V.O.)
One of us has to work this morning. There are towels in the hallway closet. Coffee is made. Please lock when you leave. C. P.S. Leave your home number by the bed so I don't have to seize the Club's records.	

Catherine smiles. She dresses, and picks up her purse. She removes a large loose diamond and places it on Marshall's pillow. Catherine goes over to Marshall's dresser. There is a mirror over the dresser. Catherine takes a lipstick from her purse, and draws a heart in the middle of the mirror. She leaves her right thumb print in the middle of the heart. She blows a kiss at the heart. As she walks out of the room, she drops her cell phone in the trash basket.

INT. MARSHALL'S APARTMENT-TOUR - DAY 

Marshall's apartment--Marshall and Hobson are outside Marshall's door with guns drawn. Marshall turns the key to the door, then mouths "One, Two, Three", opens the door, and pushes inside with Hobson covering her. They search the living room and kitchen, then head back to the bedroom. They reach the bedroom. Hobson enters first.

HOBSON	
It's clear.	

Hobson puts his gun away. He walks over to the bed and picks up the diamond, and whistles in appreciation. He turns, and walks over to the dresser to inspect the lipstick heart.
Marshall enters the room, and puts her gun away. She goes over and sits down on the bed. Hobson tosses her the diamond. Marshall holds the diamond up to the light for inspection.

MARSHALL	
Shit! That bitch really fucked with me! 	
HOBSON	
   (to himself as aside)
Apparently.	

EXT./INT. HOBSON' S HOUSE - DAY 

Catherine is shown from behind standing at Hobson's front door, ringing the door bell repeatedly. Camera shot moves inside to Hobson, dressed in T-shirt and shorts and carrying a beer, walking to the door.

HOBSON	
   (irritated)
Christ, I hear you. I'm coming! 
   (opens the door)	

Tall Brunette (TB) with thick glasses is standing at the door. She is carrying an orange UNICEF collection box.

TB	
Hi, my name is Marilyn Monroe. You know, like the actress. But I'm not the actress. She was like blond, you know. And she's dead. And I'm a brunette. And I'm alive.
   (giggles)	
HOBSON	
What do want, Ms. Monroe?	
TB	
Well, I'm with the "S","P","C","A", you know, the Society for the Promotion of Child Abuse, and we're collecting for UNICEF. So, I was like wondering if you'd
   (V.O.-TC)
hand me that beer, and get down on all fours and bark like a dog! 	

Hobson hands her the beer then gets down on all fours and barks. Catherine replaces TB. Catherine reaches down and pats Hobson on the head.

CATHERINE	
Such a good puppy! Bringing me a beer. But I'm not your partner. I'd prefer some wine if you've got anything drinkable. 
   (Hobson starts to scramble back up)
   (V.O.-TC)
Down boy!
   (Hobson flattens out)	
HOBSON	
Charbonier!	
CATHERINE	
Damn! You weren't supposed to know that yet.
    (closes the door)
Naughty. Naughty. Someone's been talking about me behind my back.	
HOBSON	
   (still struggling unsuccessfully to rise)
What the fuck are you doing to me?	
CATHERINE	
Really! Such language! Do I have to wash your fucking mouth out with soap? 
   (giggles)
See! Now you've got me doing it! Now, what was the fucking question? Oh, yeah, I remember. What the fuck are you doing to me? The long, boring version that I learned from this neurology intern that I was screwing in Munich, is that I am overriding your neuro-sensory capacities, and disrupting your synaptic responses and corresponding neuro-motor skills. The short version is,
   (leans over in front of Hobson’s face, whispers)
I'm fucking with you.	
HOBSON	
What do you want, Charbonier?	
CATHERINE	
Oh, don't be so formal. Call me Catherine. Now let's see. What do I want? 
   (starts walking towards the kitchen)
I think I'll just have some ice water. 	

Catherine walks towards the kitchen. Hobson gets up off of the floor, and charges her from behind. As he reaches Catherine, Catherine grabs him, and hurls him across the kitchen. 

CATHERINE	
Didn't expect that, didja? Where do you keep your glasses? 
   (Hobson starts to get back up)
Screw it. 
   (stamps her foot)
You ruined everything! I don't have time for this shit any way. Okay, here's the deal. Originally, I was going to beat the shit out of you, and have you report that it was the work of a seven foot tall Cyclops. But you cheated. Someone talked to my hubby. It's been ages. How's he doing anyway?	
HOBSON	
He's dying.	
CATHERINE	
Bummer. And his widow's pension is shit. Oh, well. C'est la vie! Since you already know who I am, then so does your partner. And that's a shame, because I like her.
   (crosses her arms, then puts one hand under her chin)
This is a problem. I need to think.	
HOBSON	
Charbonier said you're some kind of goddam succubus.	
CATHERINE	
   (smiles brightly)
He did? Marcel always said the sweetest things. 
   (suddenly pensive)
You know, I never really thought about it. I suppose he's right. He probably is. Marcel was a marvelous thinker in his day. 	
HOBSON	
Lady, I don't give a shit what you are. You are under arrest. You have the right....
   (Catherine cuffs him, and knocks him several feet away)	
CATHERINE	
   (V.O.-TC)
Shut up! I need to think.
   (beat, brightens)
   (spoken)
It's up to Carol. She is going to have to pick one of us. So I need you to call her, and tell her to meet me.	
HOBSON	
   (bleeding from the corner of his mouth. Wipes his mouth with his hand)
Go fuck yourself!	
CATHERINE	
   (shaking her finger)
What did I tell you about your fucking language? You don't seem to understand. I'm not asking you.
   (takes two small vials, perfume sample size, out of her pocket. One has a red cap. Stares at the vials for a moment)
Hmmmm, the chalice from the palace... 
   (beat)
   (V.O.-TC)
Take this.
   (hands the red capped vial to Hobson, who tries to resist taking the vial)
Now drink it.
   (Hobson fights with the vial, but drinks it)
   (spoken)
Good boy. The Sister who gave it to me said it was sudorific, so you're going to sweat a bit. Maybe I should send you to put on more deodorant. Well, I guess it won't be that long.
   (Catherine takes the kitchen phone off its cradle and hands it to Hobson)
Now call your partner and tell her you've been poisoned. No, better yet, just tell her to meet me at the restaurant where we had dinner. Tell her your life depends on it. 
   (Hobson is shaking his head no)
No fussing, Dear. Time is of the essense. You're dying, you know. Oh, you have enough time for us to take a little trip. But you are dying. Really. Now call her.
   (Hobson drops the phone. Catherine picks it up and places it back in his hand)
   (V.O.-TC)
Call Detective Marshall, now!	

INT. MOTEL ROOM - DAY 

A small motel room--Tall Man is making love to the Coffee Shop Waitress from behind.

TALL MAN	
Where are you?	
CS WAITRESS	
I'm right here, lover.	
TALL MAN	
This is no time to be shy.	
CS WAITRESS	
   (panting)
You call this being shy?	

Catherine's voice is heard as a remote V.O.-TC.

CATHERINE (V.O.)	
   (V.O.-TC)
Call Detective Marshall, now!	
TALL MAN	
Ahh, there you are!	
CS WAITRESS	
No shit! Where do think I was?	
TALL MAN	
Oh, I'm sorry. I wasn't talking to you. 
   (puts his hands on the CS Waitress' head)
I'm afraid I have to go. Your services are no longer needed.
   (breaks CS Waitress' neck)	

INT. RESTAURANT 3 - DAY 

Catherine is seated at a table at the same restaurant where she met Marshall for dinner. She is sipping a glass of wine. Marshall comes rushing up to the table.

CATHERINE	
Ah, there you are. I was beginning to worry.	
MARSHALL	
Where the hell is he? What have you done with him?	
CATHERINE	
   (pouts)
Don't I even get a kiss?	
MARSHALL	
Answer me, you bitch!	
CATHERINE	
   (sniffles)
Nope, no kiss. Just straight to business. Sit down, Carol.
   (Marshall sits)
Want a beer?	
MARSHALL	
Who the fuck are you?	
CATHERINE	
That depends. Who do you want me to be? I can play top or bottom. 
   (signals Stacy, the Waitress from the first visit)
Stacy, please bring a beer for my friend. And I'll have another glass. 
   (Stacy nods acknowledgment, and runs off for the drinks)	
MARSHALL	
Answer me!	
CATHERINE	
For your purposes, I'm Catherine Charbonier. Detective Hobson mentioned that he spoke with my husband. Poor man's not doing well. That was the cop that I mentioned to you at dinner. We're kind of estranged. Do you want some of those wings? 	
MARSHALL	
Quit fucking with me! Marcel and Catherine Charbonier were married on New Year's Eve, 1945. So who are you? Catherine's granddaughter? Her great granddaughter?	
CATHERINE	
   (Catherine crosses her arms and stares at her)
Patience, Dear! No, I'm Catherine Charbonier. Really, Darling. But that doesn't matter.
   (Waitress brings over the beer for Marshall)
Thank you.
   (Waitress leaves)
Acknowledge that I'm Catherine, and I'll tell you what you really want to know. 	
MARSHALL	
Fine, I don't give shit. You're Catherine. Now tell me, where is Detective Hobson?	
CATHERINE	
Say please.	
MARSHALL	
   (takes a deep breath, lets it out slowly)
Please tell me, where is Detective Hobson?	
CATHERINE	
   (opens a package of crackers and carefully butters one)
He's in your apartment. In your bed. 
   (takes a bite of cracker)
Dying. What about that spinach and artichoke dip?	
MARSHALL	
You bitch! What the fuck have you done?	
CATHERINE	
   (incredulous) 
What? I asked if you wanted to try the dip.
   (suddenly understanding)
Oh, that! I poisoned him with a derivative of some rare orchid that I can't even pronounce. I understand that it's relatively painless.
   (butters the second cracker) 	
MARSHALL	
   (places a hand on her gun)
Give me one reason why I shouldn't shoot you right here.	
CATHERINE	
Oh, there are so many reasons to choose from. Do I have to pick only one? Hmm, well, you haven't touched your beer. Okay! Okay! Don't get upset. Try this one. Because you can still save him.	
MARSHALL	
Keep talking.	
CATHERINE	
There is an antidote. But it has to be administered in the next, say twenty minutes, or so.	
MARSHALL	
Where's the antidote?	
CATHERINE	
I've got it, of course.
   (takes an envelope and the second small vial from Hobson’s kitchen scene out of her pocket and places them in front of her)
But wait, there's more! Inside the envelope is a full and complete notarized confession to the Field's burglary and homicide. But you may only have one of them, the vial or the envelope.	
MARSHALL	
What makes you think I won't take both?	
CATHERINE	
   (V.O.-TC)
Because I'm a bitch, and I won't let you. Move your hand way from your gun and place it on the table. 
   (Marshall places her gun hand on the table)
   (spoken)
So, Darling, what's your pleasure? The antidote, the envelope, or a couple of appetizers?	
MARSHALL	
What did you do to me?	
CATHERINE	
   (smiles)
As I recall, last night I made you come about dozen times. Or do you mean just now? Nothing much. 
   (giggles)
Just presented you with a Hobson's Choice.
   (pushes the vial across the table, and pockets the envelope)
   (V.O.-TC)
Go save your partner. 
   (Marshall rises, and turns to leave) 
   (spoken)
Oh, Carol, one more thing. 
   (Marshall turns back) 	
 MARSHALL	
    (exasperated)
What?	
CATHERINE	
You are wonderful in bed.
   (blows Marshall a kiss)	

INT. TED'S APARTMENT - NIGHT 

An apartment with a fireplace in the living room. A fire is going. Catherine is sitting naked, cross-legged by the fire with the grate open. The log pops. A cinder lands on Catherine's bare leg. She looks down at it, then picks it up and tosses it back into the fire. Neither her leg nor her fingers are burned. 

Catherine is holding the carving knife from the department store. Her face is tear stained. She reaches over for her wine glass, but finds it empty. She rises with the knife and her glass, and walks over to a side board and pours herself another glass. She carries the glass over to the connected dining room. Ted, the department store clerk, is naked, gagged and bound spread eagle on the dining room table. Catherine takes the knife and jams it into the table between Ted's legs. Ted's eyes bulge. She walks back over to the fireplace, and sits down again cross-legged. She starts crying.

CATHERINE	
   (still crying)
I'm so sorry, Fiona. It's all my fault!	

INT. FLASHBACK-SAUNA - DAY 

Flashback Scene--Catherine and Fiona are in a sauna. Fiona is reading a paperback. Catherine is sitting, fidgeting.

CATHERINE	
   (V.O.-TC)
I'm bored. Very, very bored.	
FIONA	
   (V.O.-TC)
That's fine, Baby, but be bored in your own head.	
CATHERINE	
   (V.O.-TC)
But I'm bored!	
FIONA	
   (V.O.-TC) 
Catherine!	

Catherine crosses her arms and sits quietly, pouting.

CATHERINE	
Carnival! Fiona, take me to Rio!	
FIONA	
   (Looks up from her book)
Baby, you know I hate Rio. I was hung over for three months last time. I know what you can do. Why don’t you go practice the piano?  I still don’t like your phrasing in Les Preludes.	
CATHERINE	
   (shakes her head no, suddenly excited)
Carnival, Fiona. You're the one who taught me Latin. Carnival, Latin for hide the meat. Car-ni-val, bring on the meat! You're just mad because I did twenty-seven men in twenty-four hours, and you were too sore and had to quit after only twenty-two. 	
FIONA	
No.	
CATHERINE	
Car-ni-val! Car-ni-val! If we leave tomorrow, we can still catch two full days!	
FIONA	
No thank you.	
CATHERINE	
It will be fun! C'mon, Rio! Rio! Rio!	
FIONA	
Not this year.	
CATHERINE	
Pleeeease?	
FIONA	
   (V.O.-TC)
I said, not this year!	
CATHERINE	
   (whining)
But I really need it!	
FIONA	
   (stands up, and grabs Catherine by the ear)
   (V.O.-TC)
What you really need is a good spanking.	

INT. TED'S APARTMENT 2 - NIGHT 

Catherine is sitting cross-legged staring into the fire.

CATHERINE	
   (a little girl's voice)
No, please! I'll be good, Fiona! Please, Fiona, not your brush. I said I'll be good!	

Catherine buries her face in her hands.

EXT. FBS-RIO-CARNIVAL-DARK ALLEY - NIGHT 

Flashback Scene--Rio, at Carnival--night, in an alley. Catherine and Fiona are dressed in Harlequin costumes. Catherine's costume is split at the crotch. Catherine is waving a bloody knife. Two men are lying in the gutter at her feet. 

CATHERINE	
Damn, I love Carnival! Do you want to go after the others, or should we go get raped again?	
FIONA	
   (stiffens, then starts shaking her head no)
No. 
   (collapses against the wall)
Go Baby! Run! Get out of town, now! I'll meet you at Sanctuary if I can. Go!	
CATHERINE	
What's the matter? These dogs are nothing.	
FIONA	
   (takes Catherine's face in her hands)
   (V.O.-TC)
Look at me!
   (spoken)
You've got to run, Kitten. There's a male somewhere in this crowd! I've just gone into heat! Go, Baby! Now!	
CATHERINE	
   (hugs Fiona fiercely)
I don't feel anything. It's okay! Let's just go back to the hotel for a while.	
FIONA	
No, Baby. He's here. Somewhere close. I can, ooooooh!
   (doubles over, and drops to her knees, looks up at Catherine)
He just killed his date. He knows I'm here, and he's coming for me! 	
CATHERINE	
   (crying)
We can run. C'mon. 
   (lifts Fiona back to her feet)	
FIONA	
It won't matter. He's smelled me! He'll find me. You have to go. Now!	
CATHERINE	
We can fight him!	
FIONA	
   (slaps Catherine hard)
If he gets any closer, you'll go into heat as well. Then he'll take both of us! Save yourself! Do it for me! 
   (Fiona hugs Catherine hard, kisses her, then spins her around and slaps her hard on the bottom)
   (V.O.-TC)
Run, Baby!	

Catherine runs to the mouth of the alley. Five men are there waiting for her. She slashes her way through them, and runs to an intersection. She stops a truck, knifes the driver, and takes off down the road in the truck.

INT. TED'S APARTMENT 3 - NIGHT 

Catherine is still seated in front of the fireplace.

CATHERINE	
   (still crying)
We could have run. We could have. Why didn't you run?
   (screams)
Why wouldn't you fucking run? 	

Catherine grabs her wine glass and smashes it in the fireplace.

EXT. FBS-RIO-DAWN OVER GUANABARA BAY - DAY 

Dawn over Guanabara Bay. The Sisterhood is gathered on Sugar Loaf Mountain. Fiona is in a white dress. Catherine is fixing Fiona's hair.

FIONA	
That was just lovely. I've never understood why anyone would wait to die before holding their own wake.	
CATHERINE	
Please don't make me do this. Please, Fiona. You won't even be showing for months!	
FIONA	
Who else could it be? You have been my blessing for over three hundred years. I am at peace. You should be as well.	
CATHERINE	
I can't kill you.	
FIONA	
Silly, I'm already dead. No one holds a wake for the living. You know as well as I do that no Sister ever survives the birth of her young. If you want to raise your own spawn, then call down a Golden Eye.	
CATHERINE	
And in exchange for a psychic lobotomy, and the joys of childbirth, I get to enjoy all of the pains, and illnesses associated with mortality. No thank you! 
   (hugs Fiona tightly)
If they're damned, and you choose not to give birth, I will be there for you.	
FIONA	
I never had any doubt. Come, the Elders are ready for us.	

Fiona takes Catherine's hand, and they walk over to several Elders seated at a long table covered with a white table cloth. Fiona and Catherine bow to the Elders.

CATHERINE	
Great Ones, my Sister Fiona has been stricken. Her need to know is great. For this humble one, and for us all, I beg you to examine her and pronounce her redeemed. 	

Catherine walks behind Fiona, then lifts Fiona's dress up over her head. She helps Fiona up onto the table. Fiona lays down on the table on her back. The Senior places her hands on Fiona's abdomen, and shakes her head in negation.

SENIOR	
There will be twins, of course. But they are damned! Both are male. 
   (takes out a long knife and lays it on Fiona's abdomen)
Sister, it is your choice.	

Fiona picks up the knife, and holds it over her belly. She looks over at Catherine. Catherine has a knife of her own in her hands, but is trembling violently. Fiona smiles and sets down her knife.

FIONA	
I elect damnation. I will give birth.	
SENIOR	
   (bends over Fiona, and kisses her on the forehead)
Sleep well, Sister. 
   (walks over to Catherine and takes the knife from her. She hugs Catherine to her, as the other Elders line up and kiss Fiona good-bye)
We are a dying breed.	

INT. TED'S APARTMENT 4 - NIGHT 

Catherine is still seated in front of the fireplace.

CATHERINE	
We're a dying breed.	

Catherine rises and walks over to Ted. She pulls the knife out of the table. Ted is shaking his head in negation, and begging unintelligibly into the gag.

CATHERINE	
   (running the knife up and down Ted's leg)
I need you to do me a favor, Ted. I need you to get it up one more time. Do you think you can do that for me? Should I come over and wiggle my butt in your face? 
   (turns and wiggles her butt)
You liked that an hour ago, didn't you? You liked it a lot. So what can I do to help you make it nice and hard? Do you want me to.... 
   (staggers, drops the knife. Begins swaying, and moaning. Covers her vulva with both hands)
Nooooo! Damn you! Damn you to hell! Noooo! I'm so sorry, Fiona! I didn't understand!	

There is a crash. Camera shows the front door smashed in. The Tall Man is framed in the doorway.

TALL MAN	
Lucy, I'm home! It's time, Little One. Time to come out and play.	
CATHERINE	
   (still swaying)
No. No. No. Fiona, help me!	
TALL MAN	
   (enters living room)
Fiona was great. But you are incredible, Little One! I sensed you both in Rio, but I admit, I was slightly preoccupied with Fiona. After all, it was her time. But now it is your time!
   (unzips his pants)	
CATHERINE	
Fuck you!	
TALL MAN	
   (shakes his finger)
Tsk, tsk, tsk. Such language!	

Catherine tries to crawl under the dining room table. Tall Man grabs her leg, and pulls her back. Catherine grabs the knife. Tall Man flips her over on her back. Catherine jams the knife in his belly, and rips it out. Blood spurts. Tall Man lets out a roar that shatters all of the glass in the apartment. Camera shows Ted unconscious with blood seeping from both ears and eyes. Tall Man kicks Catherine and visibly breaks her leg. Catherine stabs repeatedly. Tall Man holds his hands like claws, slashes at Catherine, and tears her cheek and ear.

TALL MAN	
   (V.O.-TC)
SHARE MY PAIN!	

Catherine screams, then slashes Tall Man across the neck, nearly decapitating him, and killing him. Catherine, still holding the knife, curls up on the floor in a fetal ball.

Golden Eyed Man enters. He walks over to Ted, and smiles. He moves his hand over Ted's face, and the blood is gone. He looks over at Tall Man, and shakes his head. He bends over Catherine and strokes her hair. He passes his hand over her torn cheek and ear, and her broken leg, and fixes them. He lifts Catherine to her feet, and hugs her. Catherine smiles up at him, then drives the knife into his back. Golden Eyed Man smiles at her, leans down and kisses her on the forehead. He picks her up and starts carrying her towards the door. Catherine's knife is in the middle of his back. Two uniformed police officers burst into the room with guns drawn. Golden Eyed Man and Catherine walk unseen right through the officers.

INT. SANCTUARY-SENIOR'S CELL - DAY 

A small cloistered cell. The Senior is sitting on her bed. A tear is running down her cheek.

SENIOR	
We are a dying breed.	
FADE OUT
THE END
BCC Copyright 12/23/03

Appendix -- Short Story “Play For Me”
	The foregoing screenplay is based on the short story “Play For Me”. In the fall of 1997, there was a short story contest advertised on the Web., for stories under 750 words.  I wrote the original “Play For Me” for that contest. The story was only Bobby’s tale at the bar, written in 662 words. However, the contest lost its sponsor, and never went anywhere.  
	Several friends read and liked “Play For Me”.   But being slightly constructive, now that the contest was not an issue, several said the story needed to be expanded.  The expanded short story follows:
PLAY FOR ME 
By Bruce C. Cohen 
I. 
	"Bobby, you look like a fucking ghost! But if you want to talk about it, you need to order something first."
	"Right, sorry. A beer, please. Anything in a bottle." 
	"I’ve got domestics and..." 
	"No, really it doesn't matter. Domestic's fine. I don't care." 
	"OK. One care free domestic, in the bottle, coming right up. So what's brought you here too late for lunch and too early to avoid rush hour?" 
	“I. Christ, Jimmy! I just...” 
	"OK, Bobby. Let me guess. You finally figured out that Oliver Stone fired the extra shots in the Kennedy assassination?" 
	"I. No, it's. I." 
	"Let me get that couple in the corner. Take a drink. Calm down. I'll be right back." 
II. 
	"Someone steal all your Steinways?" 
	"No, nothing was stolen."
	"Then it's a woman." 
	"Maybe." 
	"Bobby, you're making this too damn hard for one lousy beer!" 
	"She was behind me." 
	"Good, so it was a woman." 
	"Please, Jimmy. Just let me get this out. She was behind me. I thought the store was empty. I was about to go to lunch. The first time I knew someone was there was when I felt her voice. 'Play for me!' I didn't really hear it. It was just there. Deep and sultry , "Play for me!". And it didn't really register in my ears. I sort of felt it in my groin before I made any sense of the words. No, really, don't look at me like that! One second I'm heading for the door to go to lunch, the next I'm semi-erect and spinning around to face the most incredible drop dead wet dream I've ever seen. She's got this perfect body that had to be computer generated. But after my initial sense of her, all could see was her face. 
	Her eyes. And her mouth. Nothing else. Her eyes were, I don't know, just black and endless. And her lips were really pale, white, almost translucent. I just stared into her eyes for about a week and a half. Then I felt her voice again. She said "Play for me," but her lips never moved! 
	I don't know how long, but I continued to just stare into those incredible eyes. Then she told me again, "Play for me. Something -- Liszt!" I nodded. Hell, I couldn't talk. So I turned and sat down on the bench, which was really difficult because my slacks were getting tight in front. But I started to play Les Preludes. She came up behind me and placed her hand on the back of my neck. She began rubbing my neck as I played. I began to really feel the music. No, Jimmy, I mean really feel it with each swell. I could feel my pulse rising, and I was getting rock hard. By the end of piece, she was sitting next to me. I don't know when she stopped rubbing my neck and sat down. At the end, she said "More. Concerto No.1." I started to tell her that I didn't have an orchestra, but she put a finger on my lips and said "Play!" 
	Allegro Maestoso! I could hear the orchestra in the background. All I could think about was playing for her. I attacked the keyboard. Horowitz turned over in his grave in envy! Shit, bad analogy! ...Anyway, I was brilliant. By the second movement, Allegro Animato!, her hand is on my fucking leg. Third movement-I'm flying now! Allegro marziale animato! I'm unzipped and her head is in my lap! Grand Finale! I exploded! Then everything started spinning. I must have passed out. Last thing I remember, she was giving me a kiss. Her lips were bright red! 
	When I woke up, she was gone. That's when I came over here. Jimmy, I swear I never played like that before, and never will again! No, I mean it! Remember, I'm just the fucking Credit Manager, not a sales rep. I don't play the piano!" 
	The bar was not particularly crowded. However, a packed house would have made no difference to the Golden-Eyed patron at the far end of the bar. His hearing, like everything else about him, was extraordinary. He smiled. She had to be in town! 
III. 
	The shopkeeper was wary and did not want to open the door. Certainly it was close to five, but he did not seem the type to pass up any potential sale. She wondered idly how some men could sense her kind. Perhaps She could do another doctoral dissertation. She gave the shopkeeper a push. He opened the door. They always did. 
	She wandered about the shop. Nothing particularly caught Her interest until She spied the small bronze. 
	"Antico?" 
	"Why, yes! It was commissioned by Isabella D'Este herself." Not fucking likely! 
	"May I see it?" Hundred to one it's a fraud. Nope, definitely! She did not need to see the piece. She could taste his avarice. He knew the piece was a fake. The slightest hesitation. Give the man some credit, he's good! OK, baby, play for me!
	"Of course." 
	Lovely work! Almost certainly Gerbier. Damn, that man was good with his hands! She closed her eyes, and gave a slight shudder. 
	"Oh, I fully understand, Madam!" The fuck you do! "Every time I see the piece I feel a sense of awe!" His timing and empathy were excellent, though, so give him a 9.8 on the all arounds, which qualifies him for Round Two. 
	She gave him that light-up-the-room smile that was such a hit in Savannah in 1838. "It's simply marvelous!" Abrupt pout, eyes downcast, and action, “Oh, but Daddy says there is a private collection that he may be able to steal in Zurich next month." No outward reaction, but his pulse just jumped. Easy does it. Feed him a little more line. Conspiratorially smile, and roll- em, "The son of the Nazi that stole the pieces is dying, and his heirs don't want any publicity." Show a little more excitement, accellerando poco a poco, "Daddy says there's a Bandinel11, a Riccio and at least two pieces by Adrien de Vries!" Good, he has no idea what I'm talking about, but he's definitely interested a pigeon with resources. "But we'll have to move fairly quickly. Daddy thinks the attorney may be in contact with Thomas Williamson at the Victoria & Albert." 
	Eyebrow lifted. Nice touch! "Well, Madam, Mr. Williamson is certainly stiff competition." Not really since I just made him up. "However, it is not everyday that such a connoisseur of small bronzes visits this shop. Therefore, Madam, it behooves me to ensure that we satisfy such a fine new customer. Tell me, Madam, what can I do to send this fine piece home with you?”
	 "Why, simply wrap it, of course!"  Whoa, that kind of grin could give someone a terminal case of TMJ Syndrome! But your greed is becoming a bit cloying. Maybe just a touch of panic. 
	"My pleasure, Madam, I..." She gave his heart a sharp squeeze. 
	“Just let me get my checkbook out.” She gave his heart another push and was rewarded by a delicious rush of fear and confusion. 
	“I... I..." 
	A coquettish giggle, "Silly me, I forgot to ask you how much. Now, don't tell me you want more than sixty thousand for that little thing!” A final wave of bitterness at the realization that he would miss this final coup. She smiled, and stopped his heart. As he dropped behind the counter, She walked around to the cash register and removed the day's receipts. She made a point of leaving several nice prints on the cash register. Police investigations were so --intense! She turned, placed the bronze in Her hand bag, and left. 
IV. 
	The waitress rushed over. "Are you all right?"  
	The tall man smiled. "Yes, thank you. I'm fine, really. I was in an accident recently, and sometimes I still get twinges”  The waitress nodded sympathetically. 
	She obviously had no idea that He was so near, or She never would have killed the old man. Of course, anything less and He might not have sensed Her. She was a young one! Almost certainly Fiona's protégé. Patience Dear, I'm coming! 
	The waitress had a nice smile. But the makeup was not going to change the fact that forty-five had come and gone, and fifty was approaching rapidly .Still, her legs were not bad, and there was that nice set of American breasts. She would be fun. Hell, they were all fun! If only He had more time...
	He took the waitress' hand, and gently probed the pleasure centers of her brain. The waitress sighed. He did not have time to locate and titillate her individual erogenous zones, so instead, He pushed all of her buttons at once, hard. The waitress' eyes went wide, and then rolled up in her head. Her mouth formed a perfect "0", but no sound escaped as she slid unconscious to the floor. 	
	The man stepped over the prone waitress, and picked up His coat. No one could say that He was not a very generous tipper. He smiled, and hoped that the waitress remembered that fact when she awoke with the wettest panties imaginable to find that He stiffed her on the bill. 
V. 
	"... is still rising. Reuters estimates at least 500 are dead." 
	She stood in front of a 56" screen with built in VCR, cable and satellite ready, tears streaming down her cheeks. The scene was the same on 134 other screens. 
	They were a dying breed. Vesuvius in 79 and 472. Shenski in 1556. Calcutta in 1737. Krakatoa in 1883. San Francisco, Siberia, Kansu ... each the result of a multiple birth, and a singular death. So few survived to maturity. Physical needs could be met, but psychic sustenance was rarely sufficient. Assuming they do not die of exposure, the ensuing panic surrounding the quake will feed the twins for a year, or two. But adoption into a "loving" home will kill them by age five. Hardly matters though, She thought, since they're both fucking males! 
	Only 118 Females left, including 6 juveniles. She usually smiled when She thought of Herself as an adult. She'd had Her first period almost a decade ago. It almost ruined her Sweet 316th birthday party. But today the joke of being grown up brought Her no pleasure. Another Sister, Fiona, was dead at only 479. Fiona, her friend and mentor, who saved Her in Paris in 1748, was dead. Such a fucking waste to die so young! 
	Impervious to disease and able to recuperate from virtually any incapacitating injury short of beheading, death almost always came to a Sister from within. Like Scylla and Charybdis, her kind was drawn inexorably to the Males, the need to mate so overwhelming that to resist is to die. Of course, to mate is to die. Unless you preferred to be raped by an Angel, in which case you could raise your issue, forever shunned by the Sisters, while looking forward to your death after a mere six or seven mortal decades of pain, disease and decay. 
	The clerk offered Her a tissue. She was unmoved by his compassion. However, despite her grief, She felt the slightest spark of his passion. Like all fucking Males, this one had more than a passing interest in the rise and fall of her breasts with her now slightly exaggerated sobs. She transposed an image of Fiona in front of the pictures of the emergency crews on the 56" screen. We had such fun together, I'll miss you! She sniffled haltingly, and gave the clerk a broken smile. She thanked him softly for the tissue, and gave him a slight jolt at the base of the shaft of his penis, enough to straighten him up and cause a slight blush and flustered show of modesty. I'll think of you tonight, Fiona, while I emasculate this animal. 
*****
	The Tall Man walked down the alley passing out cigars. He was inordinately pleased with Himself. Initially, some of the vagrants considered trying to take more than the cigar. But at a deep instinctual level that even years of 20/20 could not subjugate, each one knew that such an endeavor would only result in new and profound pain. So they accepted his cigars, mumbled their thanks and congratulations, and those few who could still remember their childhood’s muttered prayers after He passed. 
*****
	The Golden-eyed Man walked past the pulpit unseen by the old priest or his aged flock. If anyone in attendance truly needed him, he would have stopped and provided solace. But none of the parishioners were in apparent distress, and he did not wish to be seen at this time. He walked to the sacristy. He knelt. She will kill again tonight. She will mourn the loss of her Sister. Please help me serve You better. Please let me find Her soon! 
VI. 
	He was sleeping, which was just as well since She needed a few minutes to prepare herself. She had led him by the cock to a nice restaurant where She ordered a lobster that he could hardly afford. But what the hell, he was never going to pay for it anyway. After they returned to his townhouse, they made love by the fireplace three times in an hour despite his protests after the second time that he would not recover for hours. She laughed at him, not with him, as she stroked him erect for the trifecta. Nitrous oxide be damned! She could put lead in a ninety year old monk's pencil! Even the fourth and final time would not be a problem, at least from her perspective. 
	She poured Herself another glass of wine, and walked over to the fireplace. The room was already quite warm, but She was still cold. She removed the grate, and placed another pre pressed log on the fire, and took a fleeting moment's pleasure at the shower of sparks as the lower log split. The flames rose as the paper surrounding the second log caught fire. She sat cross legged, six inches from the fire. Sparks from the lower log landed on her calf. The sudden pain brought tears to her eyes, but she made no move to brush the cinders away. The physical pain helped Her focus. 
	They had been skiing in Switzerland. She and Fiona were unwinding in the sauna when She decided that She was bored. "Carnival! Fiona, take me to Rio!" 
	"Baby, you know I hate Rio. I was hung over for three months last time." 
	Damn, what a trip that had been! Such irony. Carnival -- Latin for hiding the meat. Carnival -- bring on the meat! She had done twenty-seven men (two of them permanently) in twenty-four hours! Fiona had been so pissed when she was too sore, and had to quit after only twenty-two. 
	"If we leave tomorrow, we can still catch two full days."
	 "No thanks." 
	"It will be fun! C'mon, Rio! Rio! Rio!"
	 "Not this year!"
	 "Pleeease!" 
	"No." 
	"I really need it!" 
	"You really need a good spanking!" 
	She had smiled. They were going to Rio. If Fiona really meant no, she would not have issued an invitation to play. Play for me, Mistress! She jumped up, and ran out of the sauna to fetch a hairbrush. 
*****
	Rio was wonderful! Costumes, wine, muggings, dancing, and rape. What more did they need? It was about 3:00 a.m. and they were cornered in an alley. There were seven of them, at least two of which could still see straight. She'd been serviced twice already, but her nipples hardened into marbles against the satin of her harlequin costume. She'd had the foresight to slit the crotch before they left the hotel. Damn, this was fun! She turned to Fiona, "Do you want to run or fight for a while?" 
	Fiona was white. She collapsed back against the wall. "Go Baby! Run! Get out of town. I'll meet you at Sanctuary if I can! Go!" 
	"What's wrong? These dogs are nothing!" 
	Fiona took Her face in her hands. "You've got to run, Kitten. There's a Male somewhere in this crowd! I've just gone into heat! Go, Baby! Now!" 
	She hugged Fiona. "I don't feel anything. It's OK! Let's just go back to the hotel for a while." 
	“No, Baby, He's here. Somewhere close. I can, oooooh!" Fiona dropped to her knees. "He just killed His date. He knows I'm here, and He's coming for Me." 
	She was crying now. "We can run. C'mon!" She lifted Fiona back to her feet. 
	"It won't matter. He's smelled Me! He'll find Me. You have to go NOW!"
	 "We can fight Him!" 
	Fiona slapped Her hard. "If He gets any closer, You'll go into heat too. Then He'll take us both! Save Yourself! Do it for me!" Fiona hugged Her hard, kissed Her, then spun Her around and gave Her a hard smack on the ass. "Run, Baby!" 
	She burst forward toward the pack drooling at the mouth of the alley. The lead cur moved forward to catch Her. This was not the time to play. Releasing Her hatred of all things Male, She caused an aneurysm to blow apart the gelatinous mass that occupied the beast's cranial cavity. The beast's first lieutenant was not as fortunate. She shattered his kneecap, then ripped open his throat as she broke through to the street. 
	She stole the first truck She found. She drove north until the truck ran out of gas. If He checked the hotel room, He'd probably guess that She'd gone south to San Paulo. Or maybe He'd be too smart, and look for Her at Brasilia. It would take several weeks, but She decided that Her safest course was to by-pass Brasilia entirely, and go overland all the way north to Caracas or Port-of-Spain. Damn Him! 
*****
	Dawn over Guanabara Bay. It was the vernal equinox, and the Sisterhood had gathered on Sugar Loaf Mountain for Fiona's wake. She had spent hours braiding and putting flowers in Fiona's hair. They had laughed and cried all night. Fiona was not even showing yet. She dressed Fiona in a white satin dress. Damn Him! 
	Fiona read her will. Her voice was strong and filled with peace. To the surprise of no one, She was named Fiona's heiress. At the first equinox following Fiona's death, She would be allowed to take Fiona's name. She gave Fiona's eulogy, then took Her place to Fiona's right to receive the Elders. 
	The table was covered with a white satin cloth. The Elders took their places behind the table. She took Fiona's hand, and led her to the table. "Great Ones, my Sister Fiona has been stricken. Her need to know is great. For this humble one, and for Us all, I beg You to examine Her and pronounce Her redeemed." 
	She walked behind Fiona and lifted her dress over her head. She then lifted Fiona onto the table. She laid Fiona down, and spread her legs. She bowed to the Elders, and withdrew. The Sisters joined hands. 
	The Senior placed Her hands on Fiona's belly. The Elder shook her head. "There will be twins, but they are damned!" The Sisters began keening, as their loss was fully manifested. Their numbers again would be decreased. The Senior produced a knife, and imbedded it in the table between Fiona's legs. "Sister, it is your choice." 
	Her knees were weak. If Fiona elected to remove the abominations, then it was Her duty to take Fiona's head! She could kill without blinking to protect Fiona, but She did not know whether She had the strength to bless Her Sister. 
	Fiona smiled. For the first, only and last time, Fiona sent Her a private telepathic message, "You have already blessed me, Baby, for over two hundred years. I am at peace." To the Elders and the Sisterhood, Fiona said, "I elect damnation. I will give birth." 
	The Senior bent over and kissed Fiona on the forehead. "Sleep well, Sister." She turned away. The Sisters wept as they came to kiss Fiona good-bye. As She watched the line form, She thought that it seemed so finite. The end was eminently foreseeable. 
*****
	The Golden-eyed Man felt her pain. She would kill soon. He had to hurry. He knew where She was stalking. 
*****
	The Tall Man felt her pain. Damn, She would be fun! He had to hurry. He knew where She was playing. 
VII. 
	She rose. It was time. She crossed the living room to retrieve her bag. She withdrew the pair of three hundred dollar scarves that She stole from the third floor, and the never-needs-sharpening carving knife that She stole from the fourth floor of the animal's department store. 
	She looked at the sacrifice in disgust. Maybe She should steal one of those stun guns they used at the meat packing plants. Mentally, She slapped Herself, and scolded, "Remember, this is for Fiona! Pay attention!" 
	The animal rolled over on its side, which was convenient. It allowed Her to tie its hands behind its back, without waking it. She rolled it over on its back, pinioning the tied hands in the soft pillows of the couch. It would be easier to control that way. Time to play. She licked it under the chin, then swept her tongue across its neck. It groaned, but remained asleep. She licked its ear. 
	She straddled its chest facing its toes, and leaned forward. She brushed her breasts across its stomach. It moaned and stirred, but remained in a stupor. Damn it, play for me! She ran her tongue across its navel, then down to its groin. She had fully mapped its central nervous system during the course of its prior arousals. She sent teasing currents along the most prominent neural pathways. She purred as its dormant member stirred. She swept Her tongue around the glans, and promptly was rewarded with another thirty degrees. That's more like it. Play for me! 
*****
	The Tall Man looked at the row of identical boxes stretching for half a mile. His little pea was under one of these shells. Fortunately, unlike most unwary gamblers, He knew which one hid His treasure. 
*****
	Although bound to use corporeal means when operating on the corporeal plain, the 
Golden- eyed Man knew that there was no time to bother with public conveyances. Lives hung in the balance. Accordingly, he knew that he would be forgiven his trespasses. He relocated. 
*****
	It was fully erect, and harder than it had ever been before, or ever would be again. Fiona would have been proud! She turned around and gave it another big kiss on the mouth.  She swung her breasts in its face, and cooed, "open your mouth real wide." Naturally, it obeyed. She immediately stuffed three hundred dollars worth of cashmere in the gaping hole. "Try to breathe through your nose for a while." She quivered at the delicious taste of its sudden fear. She reached into the pillows, and extracted the knife. Its eyes went wide in terror. She came. 
	She took a deep breath, and whispered, "This is for you, Fiona." She placed the knife at the base of the shaft. The tip drew the tiniest drop of blood, and the faintest of squeals from the animal. She tensed, and prepared to drive the blade home. However, the knife fell harmlessly from her nerveless hand. She was in heat! 
	The Tall Man smashed in the front door. Subtlety was never one of His long suits. “Honey, I'm here. It's time. Come on out, little one!“
	She could not believe the aching. She felt as if She were being lifted by a white hot bar between Her legs; No wonder Fiona had sent Her away in Rio. He had found Her. Damn Him! Need Him! Want Him! Damn Him! Damn Him! Shit, need Him now! 
	The Tall Man entered the living room. "Fiona, was great. But you are incredible, little one!" At the mention of Fiona, She decided to fight. "I sensed you in Rio, but I admit, I was slightly preoccupied." The Tall Man advanced. She reached behind Her and grabbed the knife. She may die, but damned if He would be her damnation. She rose, Her hands behind Her, and Her head bowed submissively. He smiled. "That's it, little one. Let's play." Unzipped, He sprang out as tall and straight as a lighthouse, its beacon drawing Her ever closer. She sank to Her knees in front of Him. His cock consumed the whole of Her reality. She whispered, "This is for you, Fiona." 
	The blade swept around a blurring three hundred degrees, slicing through almost two inches of animated steel cable, before planting itself three inches in His thigh. His scream shattered the vase on the mantle. His reflected pain shattered Her. All sense of self consciousness fled. All that remained was pain, and the overwhelming need to cut deeply. She brought the blade back up across his groin. His clawed hand gouged her cheek and ripped her earlobe. She freed the blade, and immediately plunged it back into his neck. His knee smashed into hers, and broke her kneecap. The force of the blow threw Her backwards, and pulled the blade right through his spinal column. His head tipped to the left, then fell off his shoulders. 
	Tears ran down the cheeks of the Golden-eyed Man as he surveilled the carnage. There was nothing that he could do for the tall man. However, he took solace in the knowledge that he could still save Her, and the poor sales clerk. The Golden-eyed Man ran his hand over her leg and healed her burns and fixed her knee. He gently stroked her hair, then repaired her ear and her cheek. He bent over and kissed Her. She responded passionately, driving the blade to the hilt between his shoulder blades. He smiled at Her, and gently lifted Her. He kissed Her again, and carried Her to the bedroom where he fixed Her mind and soul. 
*****
	Deep within the Sanctuary, the Senior closed Her eyes and wept quietly. They were a dying breed. 
BCC Copyright 12/3/97