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CSI:NY Last Rights

Summary:

Three deaths: a young man, his sister, and a firefighter-- all seem to be connected but the reasons are murky.     A new character, the NYPD's official representative to the GLBT community, gets involved when one of the victims turns out to be a young gay man.

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CSI:NY

EPISODE:  Last Rights

EXT:  AERIAL VIEW OF NEW YORK – EARLY MORNING

Tops of the buildings traveling down Times Square, up the west side of Central Park.

EXT:  CENTRAL PARK – EARLY MORNING

Hot night; nice block of Central Park West; a cab pulls over to the corner, and an OLDER WOMAN (in her 60’s, perhaps) dressed for a formal evening, gets out.   She leaves to go into a building.    We follow the cab as it travels down the street until it passes (on the park side of the street) a 30-something MAN and WOMAN in summer clothes walking a dog (with a leash that releases and retracts.)

MAN

I know you love my mother.   I’m the one that wants to kill her.   Never again.   It’s a hotel…either for her or for me.

WOMAN

You’re crazy.    She’ll just call us every hour to see if we’ve been robbed or kidnapped.    

They pass what looks like a homeless person asleep on a bench.    (It is really a dead young man in his early 20’s, JOSHUA BEVANS.)   The dog keeps trying to go back to the bench, but the MAN tries to pull him away.

MAN

Rufus!

WOMAN

He probably smells food.

MAN

RUFUS!   STOP THAT!

As they get closer, they notice one of his hands is loose and dried blood seems to have pooled under it.    The MAN comes over to the body, bends down, sees the blood, touches the body, and realizes the young man is dead.

MAN

It’s a kid.    I think he’s dead.

WOMAN

Oh my God!     Call 911.

The camera rises to show the couple over the body.     The day brightens quickly into:

EXT: CENTRAL PARK – MORNING

An hour later.    FLACK is standing near the body, which is now on the ground.    COPS are keeping GAWKERS away and talking to the PEOPLE STANDING AROUND, including the MAN and WOMAN.    JAMES MURPHY, a few days shy of 50, thinning hair, out of shape, remains of a baby face, nice suit and tie, cowboy boots, walks up to FLACK, stops behind him.

MURPHY

(thick Texas accent)

Hey, Hunk Boy.

FLACK turns around, ready to rip into whoever called him that, but he immediately laughs and hugs him.

FLACK

You Old Bastard!     You keep promisin’ to stop callin’ me that.

MURPHY

When you grow up.

MURPHY looks around at the scene.

FLACK

How’s Frank?

MURPHY

Still too young for me and still gorgeous.    One of these days, he’s gonna wake up and realize I’m too decrepit for human co-habitation.

FLACK

After all this time, you think the guy might just, you know, love you or somethin’?

MURPHY

I just pay him well.

FLACK

I’m tellin’ him you said that.

MURPHY bends down to look closely at the body.

MURPHY

Who is he?

FLACK

Joshua Bevans.    21 for exactly six days.   Lives in Newark or so the license says.  

MURPHY

Do we know anything?

FLACK

Not robbery.    $68 in cash and two credit cards.    Shot at least once.   Couple over there found him.    Dog dragged ‘em over or they would’ve just left him lyin’ there.

.

MURPHY

Upper West Side politeness.   Mac catchin’ this one?

FLACK

I’m not sure.    Probably.     Thinkin’ “hate crime”?

MURPHY pulls the “hoodie” aside to read the letters on the shirt:  ‘SISSY IN TRAINING’, though a bullet hole and blood have obscured the last few letters.

MURPHY

Baby Boy, you made it to the right place, you just met the wrong people.

The camera flies over the city along the Lower East Side.

EXT:  OUTSIDE THE CITY HALL – DAY

Already looking irritated, MAC is walking up the steps when his phone goes off (vibrates?)   He answers.

MAC

Mac Taylor. (pause)   When?  (pause)   Okay.     Send me the address.    I’m walking into a meeting with the Mayor.    I’ll get someone over there.

MAC hangs up.

MAC (cont.)

DAMMIT!

He uses speed dial on his phone.

EXT / INT:  OUTSIDE CITY HALL / HALLWAY IN LAB – DAY

Coming out of the elevator, SHELDON wears his lab coat as he walks down a hall, having just arrived.    Pulling his ringing phone from his pocket, he sees Mac’s name on his phone.

SHELDON

What is it, Mac?     I thought you were in a meeting.

MAC moves toward the doors.

MAC

On my way now.     We’ve got a fire fighter down in his apartment.

SHELDON

Foul play or suicide?

MAC

That’s what you’re going to find out.    I’ll forward the address.    I’m told it’s already on YouTube.    Someone wanting his fifteen minutes of shame.

CREDITS

EXT:  CENTRAL PARK – DAY

FLACK and MURPHY are talking to PEOPLE in the park.   LINDSAY and DANNY are taking photographs and samples from the scene.    LINDSAY takes samples of the blood.    

LINDSAY

I don’t think he was killed here.   There’s not enough blood.

DANNY

So the question is: killed near here or somewhere else?

LINDSAY

Stay or go?

DANNY

I’ll go.

LINDSAY

Thanks.

She takes some more pictures.   DANNY moves into the park and looks around.    About a hundred yards away, beside a path, is a dark spot.   He bends down to look at it, takes a picture.

DANNY

(yelling)

I think I found it.

Near some bushes, he finds a shell casing.    LINDSAY makes it there.

LINDSAY

They left the casing.   That’s some help.    And here’s…

She pulls out a pair of tweezers from her case and picks up a strange yellow piece of plastic that has fallen into the blood pool.    She puts it in a container.    DANNY takes photographs of shoe impressions, definitely made from two different kinds of shoes.

DANNY

Weird.    One left shoe, one right shoe…different kind of shoes.      Not the vic’s, I can tell right now.  

 

LINDSAY

I think that qualifies as weird.

DANNY

They’re everywhere.    Somebody else was here… homeless person?

LINDSAY

This is the park.  

DANNY

I don’t know.   I’m homeless, I kill someone, then I don’t take his wallet?    And I carry him over there?

DANNY takes more pictures.

LINDSAY

And how do I know that man talking to Don?

DANNY

Who?   Oh, that’s Murphy.    Long time cop.    Family friend of the Flacks.   I’m soundin’ a little like Dr. Seuss.

LINDSAY

He was at the funeral.

DANNY

Yeah.    Good memory.

LINDSAY

And somewhere else…

DANNY

TV.    He’s NYPD’s official liaison to the lesbian gay bi trans-gendered community.   

LINDSAY

Very good, you got that all out.   

DANNY

I took the class.  I know what my letters mean.   Yeah, yeah, Dr. Seuss again.

LINDSAY

You do realize we’re years past the Dr. Seuss phase.

DANNY

Maybe I’m thinkin’ about the future.

LINDSAY just shakes her head.

LINDSAY

Oh, God, he was the man dealing with those two boys last year.    Introduce me, I’d like to meet him.

MURPHY walks over to them with FLACK.    He comes over to DANNY.   

MURPHY

Hey, Messer.    Mac not here?

MURPHY looks around the ground, then up to gage the ways in and out.

DANNY

Meeting with the Mayor.    Det.. James Murphy, this is my wife Lindsay.

She smiles and nods but they do not shake hands because of the rubber gloves.

LINDSAY

I’ve seen you…on TV.

MURPHY

And I’ve seen you get your commendation.   I was with the Old Farts sittin’ in the back where no one had to look at us.   You can call me Jimmy.   Only beautiful people get to call me Jimmy.

DANNY

Ouch.   Leaves me out.

MURPHY

Hunk Boy, we’ll talk after you know more.   Nice to actually meet you.

MURPHY leaves.    The three people left are quiet for a second.     LINDSAY and DANNY are trying not to laugh.

FLACK

Alright, say it.

DANNY

Hunk Boy?

FLACK

He does it to embarrass me.    And if you repeat it to a livin’ soul, you will definitely not be one of the beautiful people.

The camera flies across the city to end up in Midtown.

EXT:  STREET OUTSIDE  BROWNSTONE – DAY

UNIFORMED COPS are everywhere, holding back ONLOOKERS.    NEWS REPORTERS are interviewing people.   Carrying his kit, SHELDON walks up to the POLICEMAN AT THE ENTRANCE, who takes him inside.    They walk upstairs and then down a hallway to the right.    Tape is across the door.

POLICEMAN

The body just left.     They didn’t want to leave him there.

SHELDON

Right.

POLICEMAN

It’s pretty nasty inside.    He ate his gun.

SHELDON

Thank you.

SHELDON crosses through the tape.

INT:  APARTMENT – DAY

SHELDON walks into the small apartment of Mercutio Brandelli.   Everything is very neat.    The room is very sparsely decorated.     The sofa is blood-drenched.    Blood splatter is on the wall behind.   SHELDON puts his case down.    He looks around.   The coffee table has nothing on it.     A small TV with a remote on top of it.    No books, magazines, mementos, pictures except one.   He finds the picture on a shelf: two men with arms around shoulders, wearing fire gear.   Under it is a hand-written note saying:  “Eric, I’m sorry.”

INT:  LAB HALLWAY – DAY

JO hurries to catch up to MAC as he walks toward the elevator.  

JO

How was the meeting with the Mayor?

MAC

A waste of my time.

JO

I’m a little surprised you asked for me to be in on this.

MAC

I have some history with James Murphy.

JO

Problems?

MAC

Not if I can help it.    That’s why I want you.  

They reach the elevator.    MAC pushes the button.

JO

I can’t believe anyone would think you have a bias.

MAC

I don’t know what he thinks.    So you’re my secret weapon.

JO

I like being a secret weapon.

MAC

And thank you.   I know this won’t be easy. 

The elevator door opens.  They step inside.

JO

For any of us. 

The door shuts.

INT:  MORGUE – DAY

JOSHUA BEVANS is lying on a steel table, the surgical “Y” plainly visible.    SID is rubbing his eyes as JO and MAC enter.    Silently, they all walk to JOSHUA’S body.

SID

Simple but effective.   One gunshot.   Looks like 45 caliber, in my unprofessional opinion.

SID picks up a container with a fired bullet in it and hands it to MAC, who looks at it in the light.

MAC

Pretty good shape.

SID

Shot was not fired from close range.    I’ll leave it to the experts to discover just how far.

JO

Where?

SID points to a digital x-ray.

SID

Entered the chest pretty much straight on, directly into the left ventricle, then through the lung before it bounced around a little bit before it lodged in the fifth vertebrae.

JO

That’s some shot.

MAC

Whoever did this knew his way around a gun.

SID

And I also found this.    Just inside the wound.  

SID hands JO another container.   She looks at it.

JO

Looks like…plastic?    Did we find something with the body?

MAC

I don’t know yet.     Could be something.

JO

Well, we need something.     I already feel like I’m going to regret saying “Yes.”

SID

And I’ve got a firefighter to look forward to.

JO

Oh, Sid.

INT:  MEETING ROOM IN THE LAB – DAY

MRS. BEVANS is sitting across from MAC.    She isn’t crying, obviously too shocked to feel anything.

MAC

Mrs. Bevans, I’m terribly sorry for your loss.

MRS. BEVANS

Thank you.

MAC

I know this is the worst possible time for you, but I need to ask you a few questions about Joshua.  Do you know why he was in the city?

MRS. BEVANS

I think he was trying to convince Ethel to come home.   She’s been living here for…I can’t remember.   They’re twins, so he feels like…

She can’t finish the sentence.

MAC

Take your time.

MRS. BEVANS

Two years…and a couple of months?   She couldn’t have been living here longer than that.  She has a drug problem.   I tried to get her help.    He tried to get her help.   Over and over.    She stays for awhile and then disappears again.    This time was longer than all the others.    Joshua came to check on her.

MAC

Do you have any idea who could have done this?

MRS. BEVANS

Not Ethel.    She loved him.    I’ve seen her at her worst.   Never in a million years would she hurt him.

She finally starts to cry.    MAC lets her have a moment.    When she’s calm enough, she asks:

MRS. BEVANS (cont.)

Do you think it was because he was gay?

MAC

We just don’t have enough information.   But I’ve got my best people on this.    We will keep at it until we find some answers.

MRS. BEVANS

Thank you.    He was so sweet.   That’s how everyone described him.    He was saving money to go back to school.     He wanted to be a psychologist.   He was always helping people.

INT:  ROOM IN THE LAB – DAY

ADAM is sitting in a chair, looking into a microscope at one of the pieces of plastic.   LINDSAY walks by and ADAM swivels as he yells to her, so she peers inside.

ADAM

Hey!

LINDSAY

Hey.  

ADAM

I got the crappy little pieces of plastic.   You?

LINDSAY

I’m cataloging the pictures.

ADAM

For the kid…or for…

LINDSAY

The “kid’s” name was Joshua.

LINDSAY leaves.

ADAM

Hey!   I didn’t mean anything by…

He swivels back and looks into the microscope.   He frowns and leans back.

INT:  ROOM IN THE LAB – DAY

MAC, JO, ADAM, SHELDON, DANNY, and LINDSAY are watching a television where THE MAYOR gives a press conference in front of City Hall. REPORTERS, ASSISSTANTS BEHIND THE MAYOR, etc. are visible.

MAYOR

The loss of a brave member of our fire department is always a terrible tragedy for the city of New York.    Capt. Mercutio Brandelli was a fourteen-year veteran with two commendations for bravery and he will be mourned by his family, the men who served under him, and all who knew him.    An investigation is ongoing and a top priority.

MAC turns the television off.    All the others sit quietly.

JO

Thank you.    I just couldn’t watch anymore.

ADAM

Someone liked their Shakespeare.    I don’t think I’d pick the name of a character that gets murdered, though.

DANNY

Not one of our better days.    A 21-year old and a career firefighter.

SHELDON

I processed the scene carefully but I’m fairly certain it was a suicide.    There’s no evidence anyone else had been there.   The place was spotless except for the blood.    No dirty clothes, no food in the refrigerator.   Nothing.  Like he cleaned up for whoever would find him.  

DANNY

Why do that?

MAC

And the note?

SHELDON

It just said, “Eric, I’m sorry.”   

JO

Do we know who Eric is?    Family?

SHELDON

 

I’m already on it.

LINDSAY

I’ll help you.

MAC

Thank you.

They all get up from their places, silently leave. MAC turns the television back on.

COMMERCIAL

INT:  ROOM IN LAB – DAY

DANNY is looking at the pictures of the shoe prints.   He makes a digital copy of the tread of one shoe, runs it through a computer.    The possible brands appear.     He scrolls through and makes a positive match.   He makes a copy of the tread of the other and runs it as well.    The possible brands appear.    He scrolls through them as well.

INT:  ANOTHER ROOM IN THE LAB – DAY

LINDSAY is searching records of Mercutio Brendelli in front of a large screen..   She types the name in, some pages pop up, she touches the license, which makes it bigger.    A New York license, his picture, plus an address in Brooklyn.   LINDSAY brings up his service record, looks through dates.    DANNY comes in.

DANNY

Hey.

LINDSAY

No one in his immediate family named Eric.  And during his time on the job, he worked with seven Erics that spell their name that way.

DANNY

Seven’s not too bad.    I guess we’re lucky his name’s not John.

LINDSAY

Sheldon’s going in person to see if anyone can narrow it down for us.

DANNY

I don’t envy him.    Do we know who called it in?

LINDSAY

That’s where this just gets weirder.  It was from one of those cheap disposable cell phones.   No record of who it belongs to.   And Brendelli’s home address is in Brooklyn.    Why was he in an empty apartment in Manhattan?   

DANNY

Separated?    It’s been known to happen.    Whose apartment is it?

LINDSAY

A firefighter named Michael Collins.   But they don’t work at the same house.   

DANNY

Cops meet cops…firefighters meet firefighters.     That’s not that unusual.

LINDSAY

I just found a medical record from 2002.    It says he was released to go back on duty after a six-month leave.

DANNY

Lotta firefighters were having problems in 2002.    

LINDSAY

Doesn’t say what the problem was.

DANNY

And we know what that usually means.    And I’ve got more to add to the “weird” pile.

LINDSAY

It’s already pretty high.

DANNY

You know those shoe prints?

LINDSAY

Two different shoes.

DANNY

One’s a man’s show size 9, the other a woman’s shoe size 7.     A sports shoe you can purchase in roughly a hundred stores within driving distance and a loafer—

hasn’t been made in eleven years.

LINDSAY

How did they keep them on their feet?

DANNY

Tied them on?     The woman’s shoe was deeper.

LINDSAY

I can see a woman having to wear a man’s shoe but not the other way around.

DANNY

Or a kid.    Woman’s shoe was kinda small.

LINDSAY

Please be wrong.

DANNY

Nah, the shooter has to be a man.    Or a really big woman.  Someone carried that body over to the bench so he would be found.    Whoever did this knew Joshua.    Stranger doesn’t risk it.    Maybe the shoes belong to a witness?

LINDSAY

I’ll call Sheldon and tell him about Collins.   Maybe he’ll have some answers.

INT:  FIRE HOUSE – DAY

SHELDON walks up to BRIAN STARK, 30’s, half-dressed for a fire so he can throw the top half on quickly.    He does not seem friendly.     He’s washing the fire engine.

SHELDON

Hey.    I’m Sheldon Hawks with the Crime Lab.

STARK

Brian Stark.   Sorry, wet hands.

SHELDON

That’s okay.    Look, I know this is a tough time for everyone here—

STARK

Ya think?

SHELDON

I just have a few quick questions for Michael Collins.

STARK

Not here.   And why is the Crime Lab lookin’ into this?    Merc killed himself, end of story.    This constant crap on TV is just hurtin’ his family.

SHELDON

Maybe you know something that could help us put it to bed.    He left a strange note.

STARK

We heard.

SHELDON

I’m trying to find out who Eric is.

STARK

I don’t know any Eric.    I’ve been sayin’ that to anyone who’ll listen.   You’re about the fiftieth person to ask.    We’ve had two Erics since Mike’s been workin’ here.   They have no idea why Merc would write them a note.     Now if you’ll excuse me, I have a job to finish.

SHELDON

Thank you for your time.

Nighttime skyline, traveling up from Lower Manhattan.

INT:  ANOTHER ROOM IN LAB – NIGHT

JO is processing the shirt from JOSHUA BEVANS.    SID enters.   JO turns around and smiles.

JO

You’re still here.

SID

Just dropping off the report.   I wanted to finish this before I left.   Nothing to indicate Sheldon wasn’t correct.

JO

Nothing unusual on this either.    Just a slightly odd tear pattern.     And he had GSR on his hand.

SID

Poor man had old scarring on his wrists.   He tried it before.    Are you heading out?

JO

I’m waiting for Mac.   He had to go back to see the Mayor.   

SID

I don’t envy him.   Have a good night.

JO

Sid, I can call Mac later.   Are you sure you wouldn’t like to get a cup of coffee?    My treat.

SID

No.   I’m heading home.   But thanks.  I’ve just done one too many of these.

Nighttime skyline brightens into day as it flies by.

EXT:  OUTSIDE OLD APARTMENT BUILDING – DAY

FLACK, MURPHY, and DANNY (with his case) are standing out front looking at what could be a deserted building.

DANNY

So just what exactly am I doing here?    Did someone find a body in this rat hole?

FLACK

Not sure, but we’re going to 5F.   The last known address of the sister of Joshua Bevans…Ethel Bevans—

DANNY

Ethel?    You’re kiddin’.

MURPHY

No law against parents bein’ idiots.

DANNY

Still don’t know why I’m here.

FLACK

Three calls for domestic disturbances, then nothin’… except a very bad odor.   So says the man who never leaves his room and likes to listen through the wall of the apartment next to him.    Says he hasn’t heard from Ethel since the night her brother died.    Big fight then silence.  Not like her to be gone.   She used to bring him food.   He called because he was hungry.    And that’s a quote.

DANNY

I can’t believe people live here.

FLACK

I’m gonna to be so pissed if this is just a dead cat.

DANNY and FLACK look at MURPHY.

MURPHY

Old man doesn’t have to climb stairs.    Holler if you need anything.

INT: STAIRS – DAY

FLACK and DANNY climb the stairs.

DANNY

“Old man doesn’t have to climb stairs.”    Gotta love it.

INT: HALLWAY OUTSIDE APARTMENT – DAY

FLACK and DANNY come to the apartment.

FLACK

Somethin’ died.     If it’s a cat it’s more than one.

DANNY

That smell could be comin’ from any of these apartments.

FLACK knocks hard on the door.

FLACK

NYPD!

The door to the apartment next door opens.   A very feeble old man dressed in undergarments and a robe, MR. OVERBY, peers out.

OVERBY

Someone’s in there.

FLACK

Ethel?

OVERBY

I don’t think so.    She would have come by.    And you don’t have to break the door down.    The lock is broken.

FLACK looks at DANNY, pulls his gun out.    He whispers to MR. OVERBY.

FLACK

Stay inside.    We’ll get you some help.

FLACK opens the door very quietly.    DANNY and FLACK immediately start to choke from the smell.   RANDY EDELMAN, 25 or so, is tearing things up, trying to find something in the wreck of the room.

FLACK (cont.)

Bonehead!  NYPD!  

RANDY jumps out the window onto the fire escape.   FLACK holsters his gun, starts after him.

DANNY

I’ll go this way.

FLACK

Damn it!

EXT:  FIRE ESCAPE AS SEEN FROM THE ALLEY – DAY

RANDY climbs down the stairs, finally slides down the rails between floors.    FLACK climbs out of the window following him.    RANDY makes it to the alley, runs toward the street, disappears from sight.

EXT:  STREET – DAY

RANDY turns onto the street from the alley and trips over MURPHY’S foot and falls to the pavement.    MURPHY bends down, puts the foot on his back to hold him there, pulls his head up by the hair and leans into to whisper directly into his ear.    FLACK arrives just in time to hear it.

MURPHY

You know why my shoe has a point on it, Son?    So it’ll stick as long as I want it to when I shove it up your ass.

FLACK

I don’t think you’d like that too much.    He’s good with his feet.

RANDY

I didn’t do anything.    I live there.

FLACK

And you were running for your health.

FLACK handcuffs him as DANNY finally reaches them, breathing heavily.

DANNY

Somebody has to go back and find what’s making the smell.

MURPHY pulls RANDY up from the pavement.

MURPHY

Don’t worry, I’ve got him.    We’ll wait right here ‘til you guys get back.    Nice day for it.    Bright sun.    Good for the skin.    Yours is a lookin’ a little gray, Son.

DANNY leans in to FLACK.

DANNY

This guy kills me.    “A little gray.”

INT:  APT 5F – DAY

DANNY and FLACK open the door and immediately have terrible looks on their face, try not to retch.  

FLACK

Woa.    Son of a bitch.

DANNY

This is definitely not cats.

DANNY and FLACK pick up trash.    FLACK uncovers a body: ETHEL BEVANS, wearing terribly dirty jeans, filthy shirt, no socks, but two different sizes of shoes.

FLACK

I think I found Ethel.

DANNY moves into the hall, dials his phone.

DANNY

Mac, we found Ethel Bevans, dead in her apartment.  And she was wearing the two kinds of shoes.    She was at the park.

COMMERCIAL

INT:  INTERREGATION ROOM POLICE DEPARTMENT – DAY

Traffic moving in fast motion on streets of Midtown.   Cut to: The room has two chairs on opposite sides of a table—FLACK sits in one.   RANDY EDELMAN is filthy, strung out, unable to sit down or stop moving.   MURPHY is in a corner.

FLACK

Randy!    Sit down.    I’ve got a file on you higher than that apartment you climbed out of.    You seem to be an equal opportunity moron.   You’ve been arrested by everybody.    Now you’re killin’ people.

RANDY

I wasn’t stealing anything.

FLACK

Ethel’s dead and you’re worried about theft?    Hm?    Did you two have a fight?    And it somehow got out of hand?

RANDY

She’s gone.   I haven’t seen her.  

FLACK

She was on the floor.    Covered in the trash that you poured on top of her.    Rememberin’ it now?  

RANDY

She wasn’t home.

FLACK

Randy!    I saw her with my own eyes.    I almost puked from the smell.   She was there.

RANDY

I didn’t do anything.

FLACK

Well, somebody’s been fightin’ with her in that apartment.    The other apartments have big ears.   How much you bet I can find someone who will swear it was you doin’ the yellin’?

RANDY

We sometimes disagree.

FLACK

(to MURPHY)

They disagree.

RANDY

But she wasn’t there.   I was looking for…some of my stuff.

FLACK

Some of your stuff?     What stuff?

RANDY

Medication.

FLACK

Medication.     Like of the non-prescription kind?

RANDY

I really need it.

FLACK

Did you two fight over your medication?

RANDY

No, she wasn’t like that.   She always helped me out.

FLACK

So she stops helpin’ you out so you hurt her?

RANDY

I don’t remember.

MURPHY crosses over to him and slaps him on the side of his head.    RANDY cowers.

MURPHY

Remember now?

RANDY

I would never hurt her.   She was the only person who ever helped me.

MURPHY

How long were you in the room before he knocked on the door?

RANDY

I just got there.  

MURPHY

When was the last time you were there before that?

RANDY

I don’t know.   Not since her brother showed.

FLACK

You saw her brother?

RANDY

Yeah, he came by.    They had a discussion.

FLACK

A discussion?    So civilized.

RANDY

H e wanted her to go somewhere…like in New Jersey.

FLACK

Like Newark?

RANDY

Maybe.    Please don’t let him hit me in the head.

FLACK

No idea what you mean.

MURPHY opens the door.  A UNIFORMED POLICEMAN enters.

MURPHY

He is now yours.   Enjoy.

INT:  SQUADROOM OUTSDE THE INTERROGATION ROOM – DAY

FLACK and MURPHY come out of the room, walk down a hall and into the precinct

FLACK

I wouldn’t stake my lousy reputation on it but I think our Miss Bevans will turn out to be an overdose anyway. 

MURPHY

Of course she is.

FLACK

So what’s with the slap on the head?     He’s tweeked out of his mind.   You think he even felt it?

MURPHY

Probably not.   But I enjoyed it.

FLACK

(laughing)

No wonder they promoted you.   It was that or send you to jail.

MURPHY

Well, thanks—

FLACK

(whispering)

Don’t even think about sayin’ it in here. 

More traffic, moving the other way.

INT:  ANOTHER ROOM IN THE LAB – DAY

JO is running a bullet through several databases but gets a hit almost immediately.    A picture of Joshua Bevans pops on the screen.

JO

Oh my Lord.

INT:   HALLWAY OUTSIDE MAC’S OFFICE – DAY

MAC walks out the door of his office, when ADAM and JO come up to him from opposite directions, both with reports in a folder.

JO

I finished with the ballistics.   You’re not going to believe it…or like it.    I’m sorry, Adam, you were here first.

ADAM

That’s…uh…okay.   What are we not…?

JO

The same gun that Brendelli used to kill himself was used to shoot Joshua Bevans.

JO hands MAC the report, which he reads.    Then ADAM hands his over.   They walk.

ADAM

I can…kind of…believe it.   Those little pieces we thought were plastic actually are plastic, but not an ordinary plastic, like from a cup or something. 

MAC

And?

ADAM

And I looked it up in every place I could think of but I couldn’t find anything where those exact chemicals are used together, so when I went home last night—

MAC

No you can’t have overtime.

ADAM

I called my friend who knows, like, every substance known to man, and he told me the main ingredient is a flame-resistant material only used in a firefighter’s helmet.    And the only part thin enough to allow a bullet to go through it like that is where the strap is.

MAC

What about his wife?   Has anyone even spoken to her?

JO

If they have, they haven’t said a word to me.

ADAM

Maybe they separated?    Maybe she’s staying with someone out of town or out of state?  

MAC

And she doesn’t watch TV?     This got national coverage.

JO

Everything has been strange about this.    Three people. All dead.   One murder, one suicide, and one overdose, self-inflicted or not.

MAC

All connected.   We need to see Michael Collins.    He may give us the connection.

INT:  ROOM IN THE LAB – DAY

JO is looking through a microscope at the shirt.   Close-up of the bullet hole in the shirt under the microscope.    LINDSAY walks in.

LINDSAY

I’ve heard from reliable sources that you’re looking for me?

JO

Great.   You took the photos of the pieces of plastic at the Bevans crime scene, right?

LINDSAY

Yeah, and Adam tested them.

JO

I can’t really tell from the pictures…how far apart were they?

LINDSAY

No more than, say, two feet.    Why?

JO

It finally makes sense.    I couldn’t figure out why so much of the plastic was embedded on the right side of the hole but the bullet track could still be straight ahead.

LINDSAY

Why didn’t it change the trajectory?

JO

If someone else was holding it, they would have to be pushing it next to his chest.    Maybe Joshua was holding it and the killer took it with him.

COMMERCIAL

INT:  CONFERENCE ROOM IN THE LAB – DAY

Fly over of Midtown again, bright day.   Cut to:  MAC is sitting at a table across from MICHAEL COLLINS, a man in his 30’s.     COLLINS seems nervous but cooperative.

MAC

How often did he use your place?

COLLINS

Lately?    All the time.    He wasn’t too happy at home.   Regina was makin’ his life hell.

MAC

Do you know why?

COLLINS

Why do any couples fight?

MAC

Look, I have an investigation so I’m just going to be blunt.   Was he seeing someone else?    Was she?

COLLINS

Could be.    You’d have to ask her.

MAC

We will when we find her.

COLLINS

She hasn’t come forward?

MAC

Not yet.    Do you know where she could be?

COLLINS

She has family in Vermont.    Maybe she’ s up there.

MAC

Anything else you can tell me?    Why was the apartment cleaned out?

COLLINS

We didn’t keep much in it.    I never really stay there.    I let him have his privacy.

EXT:  STREET IN FRONT OF PRECINCT – DAY

MURPHY is walking to the corner, past police cars, hails a cab.    His phone rings as the cab pulls up.

MURPHY

Yeah.   (Pause.)   Thanks.

He puts his phone away as he enters the cab.

INT:  BALLISTICS ROOM IN THE LAB – DAY

Montage: JO firing a gun into mannequins from different distances and measuring the hole and the stippling.     12 feet makes the identical pattern she’s searching for.    MAC walks by and JO calls out to him.

JO

Mac!   It looks like he was standing about twelve feet away.

MAC comes inside to inspect the work as MURPHY walks in and stands watching for a second or two.

MURPHY

When were you going to tell me?

MAC

Let’s talk in my office.

MURPHY ignores him and walks over to JO, offers his hand, which she shakes.

MURPHY

Jimmy Murphy.

JO

Jo Danville.

MURPHY

Heard you hail from the land a little South of here.

JO

And you sound like you’re from Texas.

MURPHY

I’m workin’ on my Brooklyn accent.   My lessons aren’t goin’ so well.

JO

I have family in Texas.

MAC walks to the door.

MAC

Can we do this?

MURPHY

After you.

INT:  MAC’S OFFICE – DAY

MAC gestures toward a chair.   MURPHY doesn’t move.

MAC

Have a seat.

MURPHY

I’ll stand, thanks.

MAC

Jimmy.

MURPHY

I like her.

MAC

I wasn’t holding anything back from you.

MURPHY

Weren’t you?

MAC

I just got in when Jo caught me.   

MURPHY

I’m hailing a cab on my way over here and my aide calls and tells me you spoke to Michael Collins.   

MAC

I did.    I haven’t had time to do anything about it yet.

MURPHY

Don’t know about you, but my phone never turns off.

MAC

I probably should have called.   It wasn’t personal.

MURPHY

Why wasn’t it?    It’s my ugly mug on the damn television 24 hours a day, yet you don’t think to call me…and it wasn’t personal?

MAC

No one’s withholding anything.   Why would I do that?

MURPHY

I don’t know.   You’ve got a dead gay kid and a firefighter who shot him and then himself.    He was found in an apartment of another member on the job.   Then there’s the dead sister thrown in for free.

MAC

I know what you’re thinking, but we have no evidence they were lovers.

MURPHY

We have no evidence they weren’t.      And I’m not talkin’ about the kid.

MAC

It’s not my job to speculate.  My job is to find evidence, process evidence, see where it leads me    Evidence, not speculation.  

MURPHY

I don’t need the lecture.   I helped write it.

MAC

Collins didn’t say anything of value.    If he had, do you really think I’d leave you out of it?

MURPHY

I just don’t know any more.

They look at each other.

MAC

Jimmy, I’m not the enemy.   I haven’t given up.   I’m still trying.   I can’t make them FDNY talk to us.

MURPHY

You can’t make them…right.   The Mayor said the same thing.   No one wants to make our heroes look bad.

MAC is silent.   MURPHY moves to the door.

MAC

Jimmy.

MURPHY stops.

MURPHY

The problem is, on paper, gay men should have equal opportunity in any city job.   Right.   Would you like to guess how many same-sex partners of deceased firefighters are gettin’ their pensions?   

MAC

I supported the creation of your office.   I believed in it then, I believe in it now.   I thought that’s why we hired you, to start the process of putting a stop to the same old hateful behaviors.

MURPHY

We?    No.   It’s my job to get mothers to cry over the dead bodies of their gay sons on TV so we can call it a hate crime and make everyone think we’re all so evolved.    As long as their sons don’t fight fires for a livin’.

MAC

I don’t buy that.    You have more influence than that.

MURPHY

Influence?    I can’t even get the city to tell the truth…all the truth.    

MAC

Jimmy, it’s not my job to out someone.

MURPHY

You’re assuming they were in.  

MAC

Are you trying to say you have information vital to this case?

MURPHY

I knew Merc from our local bar.    Gay bar.     He had been separated from his wife for about 12 years.  Except for public appearances, of course.    Not a person who knew him thought he was straight.    They just didn’t talk about it.    He stopped comin’ about two years ago.

MAC

Did you ever see Joshua Bevans there?

MURPHY

Of course not, I would have told you.

MAC

Look, I’m sorry.

MURPHY

You didn’t ask me if I saw anyone else.

MAC

Are you saying you’ve met Collins in a bar?

MURPHY

No.     But I did meet someone named Eric…

MAC

You’ve been holding this back all this time?

MURPHY

No, I just thought of it.    We called him by his last name: Kleinman.     I looked it up.     Now I’m bringin’ you the information.

MAC

What do you know about him?

MURPHY

Died in Tower One.     He and Merc shared an apartment for two plus years—on the same block as you, in fact.   But you know how it is.  They lied and gave their wives’ addresses.    Most of the gay men workin’ fire do.   The wives go along with it so they can keep the benefits.    Now everyone has a blackberry so no one has to know where you are.   No need for questions.   And the rest of the men can pretend they don’t live and work with any faggots.

MAC

I don’t believe everyone in the entire force is a bigot.

MURPHY

Depends on your definition.     Is someone who stands by and lets homophobia run rampant a bigot?

The two men look at each other.   MURPHY moves to the door.

MAC

Jimmy, I meant what I said—I’ll call you when we get more information.

MURPHY

In the spirit of cooperation…Kleinman used to tell a story about two children he gave up for adoption when he was a teenager.   A boy and a girl.    Twins.   He always regretted it.    He told his wife he wanted to find them.    He got as far as turning in the paperwork.

MURPHY leaves.     JO comes to the door.

JO

Passionate man.

MAC

Too passionate.

JO

I don’t know.    Passionate men get things done.    I like men who feel things deeply.   

MAC

Why do I sense an “and” coming?

JO

I don’t know him.  But Jimmy Murphy seems to me like a good person to have on your side.

COMMERCIAL

EXT:  ALLEY TWO BLOCKS FROM ETHEL BEVANS APARTMENT – DAY

Cars drive by an alley filled with trash.   ADAM and SHELDON are in protective gear, searching the alley, which includes a large trash receptacle.    They carry their cases.

ADAM

I should shut up more.

SHELDON

Got you out of the lab.     Be happy Danny did the apartment all ready.

ADAM

So why didn’t he come out here?

SHELDON

Because this is two blocks away.

ADAM picks up a paper bag, stuffed and rolled up.    He looks inside, turns his head.

ADAM

Some vomit in a Chinese take out box from like a week ago.    I’ll never say I want to get out of the lab again.

SHELDON has looked in the trash receptacle.    He picks up what look like rags.

SHELDON

Adam.   Hand me some large bags to put these in.    I found some clothes with stains on them.    Could be blood.    And a cell phone.     And here’s another.

ADAM

I’ve got more if we need them.

But instead of taking the bags, he hands the items to ADAM to handle as he goes back into the trash and pulls out a fire helmet with a shattered edge.

SHELDON

Well, that solves one problem.

ADAM

The sister had it?

SHELDON

That’s a distinct possibility.

ADAM

So why does his sister have the helmet but not the gun?

EXT:  OUTSIDE BRENDELLI APARTMENT – DAY

MAC walks up, finds the number, pushes the button.   

MALE INTERCOM VOICE

May I help you?

MAC

This is Mac Taylor.    I’m with the crime lab.    I know it’s a difficult time, but I need to speak to Mrs. Brendelli please.   

MALE INTERCOM VOICE

She is under doctor’s orders.    You may speak with her lawyer.    He has sent the Mayor’s Office the information.

Angry, MAC looks up.    ELVIRA BRENDELLI looks out the window.   MAC walks away

INT:  OVERBY APARTMENT – DAY

LINDSAY is sitting at a table with a very shabby cloth on it, as MR. OVERBY pulls a kettle off the stove and pours some hot water over some tea bags in cups.

LINDSAY

Thank you.

OVERBY

You’re welcome, Young Lady.

He sits.

LINDSAY

When was the last time you saw Ethel?

OVERBY

The morning before…before she killed herself.

LINDSAY

I’m sorry I have to ask these questions.

OVERBY

No need to be sorry.    She came and brought me some groceries.    We had breakfast.   I cooked her eggs and toast.    She loved eggs and toast.  

LINDSAY

You made breakfast for her?

OVERBY

Whenever she was awake.

LINDSAY

What time did she come by?

OVERBY

About nine.    She cashed my social security checks for me and bought me things that I needed.    I knew she used some of it for her…drugs…but she was all I had.     And she was tryin’ to stop.

MR. OVERBY dunks his teabag to make the tea stronger.

LINDSAY

But you said you heard something later?

OVERBY

Joshua came by about eight that night.     He tried to get her to come home with him, like always.   And she got upset like always and she started yellin’.   

LINDSAY

Could you hear what they were saying?

MR. OVERBY takes a sip before he speaks.

OVERBY

Joshua was sayin’ somethin’ about their real father and that he had met someone who was in a picture.    She said she didn’t care because he was long dead.

LINDSAY

Were those her exact words?

OVERBY

I’m sure it was somethin’ like that.

They both sip tea.

LINDSAY

Did you ever see the picture?

OVERBY

No.  And then the other kid came by but she threw him out.    Then Joshua finally left but gave her a cell phone.    I heard him show her how to call him.    Then I didn’t hear anything and I went to bed.    I think she went out right after Joshua left because I couldn’t hear any movement.   I never heard her come back but I sleep pretty soundly.

They sip again.     LINDSAY stands and puts her hand on one of his.

LINDSAY

Thank you, Mr. Overby, for the tea.   I think what you’ve told me will help.     I’m so sorry about your friend.

OVERBY

She was beautiful.  

LINDSAY

Yes, she was.   I know someone who works very near here, about seven blocks.    I’ve told her about you and she said she would be happy to get your groceries and anything else you might need.    Her name is Beth.    She loves eggs and toast, too.

Two fire trucks roar down a street (in sped-up fashion.)

INT:  FIRE HOUSE – NIGHT

BRIAN STARK is leaning against the fire truck as MAC enters through the open door.

STARK

Mike’s busy.    He can’t be disturbed.   FDNY business.  You should come back.

MAC

We both know that’s a lie.    You’re hindering an investigation.    I could arrest you just for standing there.

STARK

You’d have to arrest all of us.

Six more FIRE FIGHTERS come into the space and stand.

MAC

This won’t stop me.

STARK

I don’t know.   Might slow you down.

MAC

I’ll just make a phone call.

STARK

With a mouth missing teeth maybe.    You see, I’m friends with the Mayor, too.    I’ve been on TV.   I won’t need these guys, they just wanna watch.

MURPHY walks inside, standing at the other corner from MAC.

MURPHY

Oops.   Someone let the queer in.   And just look at him: all out-of-shape, and high-pitched voice, and sissy mannerisms.   And probably fights like a girl. 

MURPHY pulls out a huge gun.

MURPHY (cont.)

That’s why I carry Butch.     He’s a good friend.    Evens out most encounters.

MAC

Jimmy, I’m fine.

MURPHY

Oh, I know.   I’m like them.   I wanna watch.    But Butch doesn’t watch.    He just shoots his mouth off.   But don’t worry, Boys, he won’t shoot ya’ dead.   He’ll just shoot ya where you wish you were dead.

BRIAN STARK shakes his head and motions for the others to relax.

STARK

Murphy, you’re just crazy enough to do it.

MURPHY

Bet your ass I am. 

MICHAEL COLLINS comes in.

COLLINS

Guys, it’ll be ok.   C’mon in.    I just made some coffee.

MAC and MURPHY cross in front of the men still standing in place.    Just past, MURPHY turns back.

MURPHY

All these extra muscles.   So hot.

INT:  TABLE IN THE FIRE HOUSE – NIGHT

MAC and MURPHY are sitting with MICHAEL COLLINS at his kitchen table.    He is drinking coffee.     They have mugs but don’t touch them.

COLLINS

Murphy, I’m so sorry.   In their own stupid way, they think they’re helping me.

MURPHY

If you say so.

MAC

Tell us what you know.

COLLINS

For such a big guy Merc was not good in a fight.    Wasn’t in his nature, I guess.    First year on the job, he told some loud mouth to stop it with all the remarks and two guys taught him to shut up about it.    The department called it a disagreement.     The two guys were put on suspension for a bit…they come back, Merc never says another word.     He meets Eric, they find a place where they think no one will see them…they get a cover story together in case.   Eric was gonna be the one whose wife had thrown him out.    And the apartment was supposed to belong to Merc’s sister for his use when he was too tired to drive to Brooklyn.    Then…Eric was gone.   Merc got so depressed, he cut his wrists.    He took some time off like some other guys did, he came back, no one talks about anything, that’s life.    

INT:  BANQUET ROOM – NIGHT

The room is full of men and women in formal clothes.    MICHAEL COLLINS enters with his wife, DEBORAH.     She sees ELVIRA BRENDELLI, standing next to her husband, MERCUTIO, and moves to hug her and peck her on the cheek.

COLLINS (V.O.)

I met him at a charity event for kids with cancer.    His wife and my wife both volunteered.   

MICHAEL catches up to his wife.

DEBORAH

Elle—I mean Elvira Brendelli, this is my husband, Michael.

MICHAEL

How do you do?

He notices MERCUTIO and stares.

ELVIRA

Michael, this is my husband Merc.    He’s too ashamed of his real name, so don’t ask him before he’s had at least two drinks.

The two men shake hands.

MERC

How do you do?

MICHAEL

Fine.   Thank you.

INT:  TABLE IN THE FIRE HOUSE – NIGHT

COLLINS

I took one look and my life could go to hell—I had to be with him.    Problem is, he didn’t want anyone to know.    Then Joshua tracks him down from a picture of Merc and Eric Kleinman from back in the late 90’s.   Don’t know how he did it, but the kid shows up at Merc’s work and starts askin’ all the wrong questions.   

INT:  FIREHOUSE – DAY

JOSHUA is talking to MERCUTIO BRENDELLI, who is washing the truck with THREE OTHER FIREFIGHTERS.

JOSHUA

He turned in the papers to get in touch with us before he died.    I found this picture with your name on the back.   Someone said you lived together.

BRENDELLI

Someone said wrong.

JOSHUA

But he said he knew you.    Both of you.

BRENDELLI

We knew a lot of people.    We were friends.    I can’t tell you much more.

INT:  TABLE IN THE FIRE HOUSE – NIGHT

COLLINS

His buddies start tellin’ him they don’t appreciate the questions.    So he tells them not to worry about it.   Then Joshua shows up at the apartment and Merc throws the kid out.  Then five minutes later, he follows him into the park. 

EXT:  CENTRAL PARK – NIGHT

JOSHUA is on his cell phone.

JOSHUA

Eth…come with me.    I’m finally 21 and I have no one to not have a drink with.   (pause)  I’m here at our favorite part of the park.     I’ll stay near the entrance… (pause)  Okay, not TOO near the entrance, just close enough so you can find me.  (pause)  I’m still staying, even if I have to wait all night.   (pause)    Then come meet me, and nothing will happen to me.   (pause)   I’ll run into the street if someone jumps out at me.    Besides, I see a big stick.    I’ll just knock them over the head.  (pause.)    Come.   I love you.

JOSHUA goes over to a tree and bends over to pick up the branch.  MERCUTIO BRENDELLI steps out of the shadows, carrying a firefighter’ hat with a crack down the side of it.

BRENDELLI

Josh…

JOSHUA

Hey!    How did you find me?

BRENDELLI

I followed you.   I wanted to give you this.

JOSHUA

Oh my God.

BRENDELLI

I’ve kept it all these years.   In a box.    It cracked when he was joking about something falling on his head when we were in a building.    We thought it was good luck.   He would want you to have it.

JOSHUA

Thank you.

BRENDELLI

It’s a bribe.     You get the hat if you promise to stop comin’ to the station askin’ for more stories about him.     You already know everything anyway.

JOSHUA

All I ever wanted to know was the truth about my real father.    Just the truth.    And I found out he was a hero.   And gay, like me.    I’m not going to lie for you.   I want people to know there are gay heroes.   

BRENDELLI

It won’t help.    It would just hurt people.

JOSHUA

Don’t you think he deserves to be known for the man he actually was?

BRENDELLI pulls out a gun and points it at JOSHUA who just gives him a puzzled look.

BRENDELLI

I...can’t.

He shoots.    The bullet flies out in slow motion, piercing the helmet as it flies into JOSHUA’S body.     JOSHUA falls.

BRENDELLI (cont.)

I’m sorry, Eric.     Forgive me.    Please forgive me.

He runs back into the park.    

EXT:  WEST SIDE OF THE PARK – NIGHT

On the street, ETHEL hears a shot.   Walking into the park, she looks for her brother, finds him, checks to see if he’s alive; when she discovers he isn’t, she stands, walks a few steps, stops, turns back, finally falls on the ground, sobbing.    She picks him up in her arms.    BRENDELLI comes back for the helmet.    He lifts JOSHUA and carries him to the bench.    When he turns around, ETHEL and the helmet are gone.

INT:  TABLE IN THE FIRE HOUSE – NIGHT

COLLINS finishes his coffee.    MURPHY and MAC watch him in silence.

COLLINS

I come home.    He tells me his story.   He makes me go out to get his favorite food, so he can eat it one last time before he turns himself in.    I should have stayed.   I didn’t want to leave him, but…  

COLLINS fights back tears, then regains his stoic face.

COLLINS (cont.)

I found him.    I’m sorry, I cleared out the apartment before I called.     I didn’t want the whole thing to be on the news.    But just couldn’t bear to take the picture and the note.

COMMERCIAL

INT:  HALL IN THE LAB – DAY

Carrying a thick file and some pages under his arm, MURPHY walks up behind MAC who doesn’t know he’s behind him.

MURPHY

Hey.

MAC stops, turns around.

MAC

Sorry, I didn’t know you were behind me.

MURPHY

Don’t worry about it.   I have a habit of sneakin’ up on people.

MURPHY hands him the file, keeps the papers under his arm.

MURPHY (cont.)

The final report from our end.    It is now officially a suicide brought on by PTSD.    No mention of the murder.

MAC

God.

MURPHY

A group of people are tryin’ to change the rules to allow it to be labeled an official medical disorder… which would mean that a doctor could name it as the cause of a city worker’s death, like cancer.    Lets the wives and kiddies keep the benefits.    It’ll take years in the courts but the City doesn’t want the publicity, so they’ll quietly give Mrs. Brendelli his pension.   

MAC

I already know.

MURPHY

Collins just turned in his early retirement.    No one will ask any questions.    He’ll have a nice pension, too.    And the city mourns a fallen comrade…but who but a mother mourns the loss of just another homo-kid and his drugged out sister?

MAC

You will.    I will.

They look at each other.

MAC (cont.)

For what it’s worth, I don’t like how this ended.

MURPHY

Me either.   But it was broke before we got here.

MURPHY hands him a flyer.

MAC

What’s this?

MURPHY

A list of cop bars I will be visitin’ this Friday evenin’ startin’ about 10.    It’s my 50th birthday.    Big event.    My Grandfather died at 29.    My father died at 48.    My husband died…    Oldest man in my family history.    I’m tryin’ to find fifty desperate people in this city to hoist a drink with me in celebration.    Show up at any one of them and I’ll get there eventually.     If you’re free.

MURPHY leaves MAC with the flyer in his hand.

EXT:  BAR – NIGHT

FLACK is out on the sidewalk, watching.    He moves inside.

INT:  BAR – NIGHT

JO, DANNY, LINDSAY, SID, and SHELDON are sitting around a couple of tables next to each other, drinks in front of them.     FLACK comes in the door.

FLACK

Yeah, he’s wobblin’ his way here.

MURPHY and FRANK ADELSON enter.    FRANK is in his early 30’s, very tall, very muscular, handsome, friendly and happy at the moment that people are here waiting for MURPHY.

VARIOUSLY

There he is!    Jimmy!    Hey!     They made it!   etc.

The two newcomers come over and shake hands and hug / and or kiss each person.

FLACK

(hugging him)

Frank…it’s good to see you.    Can he still walk?

FRANK

I’m not holdin’ him up yet.    Notice how I say, “yet.”

FRANK comes to JO.   

MURPHY

This beautiful lady is Jo Danville.     And this beautiful man is Frank Adelson, my keeper.

She hugs him, though they don’t know each other.

JO

It’s good to meet you.    Hugging just seems appropriate.

FRANK

I will never say “No” to a hug.

LINDSAY come forward, FRANK opens his arms, so she hugs hiim, too.

LINDSAY

I’m Lindsay Messer.     I’ve heard so much about you.

FRANK

Well, if Jimmy didn’t say it, it might include somethin’ good.

The others chuckle.

MURPHY

No fair picking on the Birthday Boy.    Sid.     Dr.    You know Frank?

They all shake hands.

SID

Of course, how are you?

FRANK

Good.

SHELDON

Hey, Frank.

FRANK

Sheldon.   It’s been a while.

SHELDON

Too long.    Sit.

JO, SID, DANNY

Sit!

The others sit as MURPHY sits after leaning over to speak to FRANK.

MURPHY

Baby, would you get me a drink?

FRANK goes to the bar and will bring back a drink.

FLACK

Did you get fifty yet?

MURPHY

Well, countin’ this motley crew of well-wishers, I’m two misfits short.     Maybe I’ll have to have Frank make two guys drink me a toast.     Those two look promisin’.    One firm nudge from Frank and I’d bet that they ‘d drink to their mother’s girdle.     Thanks.

FRANK comes back to the table, hands MURPHY a drink.    MURPHY stands and everyone follows suit.

MURPHY (cont.)

Breakin’ with tradition where someone else gives the condemned man his final toast, I hereby give my own because everyone else would be too damn nice to say what ought to be said.   

The group laughs.

FLACK

Oh, I could say plenty.

They all laugh again.

MURPHY

So here’s to livin’ longer than I ever thought I would.     To fifty years of a helluva a life!

FLACK

Yeah, to a helluva life!

ALL OTHERS

A helluva life!

They all drink.    ADAM rushes in.

ADAM

Sorry I’m late…I had a date and it kinda went longer than I thought…

MURPHY

Forty-nine!     Get a drink quick.   You’re one behind.

ADAM hurries to the bar.     MURPHY holds up his glass.    Everyone follows suit, watching.    Everyone drinks when MURPHY does.    FRANK leans over and whispers:

FRANK

Birthday present time?

MURPHY

Yes!     To celebrate this momentous occasion, and since my ass is too scrawny to spank, the birthday boy, which would be me, requests a gift from all his toasters, which would be you, and that is a big ole’ kiss…right on the lips.     You can line up and get your mouths ready, ‘cause everyone else before you had to do it, so none of you are weaslin’ out of it.

Everyone laughs.    Looking at each other and smiling or shrugging, they stand and form a line in front of him.     ADAM comes in just as the line is forming.   

ADAM

Why are we…getting in line?

MURPHY

Take a big swallow, Kid, cause the fun is about to start.     Sid, looks like you’re number forty-three.

Each kiss is seen in a tight two-shot.    The “non-kissers” cheer or whistle each successive person in line.    SID bends down and kisses him.

SID

Happy Birthday!    Fifty more years!

ALL THE REST

Fifty more!

SHELDON takes MURPHY’S head in his hands and kisses him.

SHELDON

Here’s number forty-four.  Happy Birthday, Jimmy.

MURPHY

He’s almost as pretty as you are, Frank. 

SHELDON

Thank you!    Thank you!     Frank, don’t hurt me.

More laughter.    LINDSAY is next.    She touches his cheek.

MURPHY

And now the first beautiful lady is forty-five.

She holds his face and speaks before she kisses him.

LINDSAY

I am honored to be number forty-five.  Happy Birthday, Jimmy.

Quickly, DANNY grabs his face and kisses him strongly.

DANNY

Happy Birthday!

THE REST

Forty-six!

ADAM

I’m not very comfortable…

OTHERS

Adam!   (or)   Do it!    (or)    Baby!

MURPHY

Better to just get it over with, Kid.

ADAM tentatively bends down but MURPHY grabs his face and kisses him, lingering a second longer to make everyone else cheer and mock.

ADAM

You kiss better than my date.    I guess I was forty-seven.

MURPHY

And now the other beautiful woman.

JO takes his head in her hands and kisses him, four times.

JO

Happy Fiftieth, Birthday Boy, from number forty-eight…those were all one big kiss.

MURPHY

Ok, Hunk Boy, you’re forty-nine.

FLACK gets down on his knees so they are about even.     He takes MURPHY’S face in his hands, MURPHY puts his hands around his, and FLACK gives him a lingering kiss.    When he breaks away, MURPHY grabs his face again and holds in a few inches away.   He is tearing up.

MURPHY

With everything, I just wanna… You know I love you like family, right?

FLACK

You gettin’ sentimental on me?

MURPHY

Yeah.

FLACK wipes away a tear, grabs MURPHY’S face again, and gives him another kiss.

FLACK

I am family.

FLACK stands.    JO spots MAC who is standing several feet away.

JO

Mac!     You made it.

MURPHY stands up and meets MAC with his hand raised for a handshake.     MAC grabs his face, kisses him.

MAC

Happy Birthday.

BLACKOUT

THE REST

Fifty!