DIANE: Aren't you coming in?

ANTONIO: (With Latin accent) I can't.... unless you invite me.

DIANE: (Slightly frustrated) I thought that rule only applied to vampires.

ANTONIO: And gentlemen.

Diane drags him into the apartment, and begins to kiss him passionately and erotically. She takes off his coat. He caresses her face.

DIANE: Make yourself at home.

ANTONIO: (Caressing her face) Diane, when I look into your eyes I see so many (pronouncing it as) tings....

The kiss passionately, moaning with desire.

ANTONIO: (Cont.) .... This may sound strange, I know, but I see.... into the past perhaps because it seems--

DIANE: (Interrupting him) ....as if we always known each other.

ANTONIO: (Seductively caressing her lips) You are dressed in white, and you realize we are soul mates. And I meet you at the alter. I know what you will say.

He caresses her ear; then seductively whisper into it.

ANTONIO: Say it!

DIANE: (Ecstatically) I do.

We see a switch blade. Diane gasps in horror. We heard the blade enter her body. Her lifeless body collapses into his arms.


Scene Two: At the police station Lt. Palermo tells offices Cory and Chris about Diane's murder. It is the work of a serial killing. The victim, and others, had placed personal ads in a Santa Monica paper. Palermo has put in a couple of dummy ads in the paper's personals, hoping one of them will smoke out the murderer. He wants the Cory and Chris to be meet men who answer the ads, and hopefully smoke out the murderer.


Scene Three: Cory is waiting for someone, when a man with a mustache, slicked back hair, a scar, glasses, and wearing a red polo shirt appears, and taps her on the shoulder.

Cory uncover meets Southern gentleman Ted 50 sec; 1.9 Meg Miller.

TED: (With a Southern drawl) My, my, my....

CORY: (Surprised to see him) Ted, Ted, Ted....

TED: I'm Ted Miller. I'm hear to meet Miss Cory Daniels. Please be her.

CORY: (Flirtatiously) And if I'm not?

TED: Oh hell, be whoever you want. Just have a drink with me.

CORY: (Offering him her hand; they shake) Cory Daniels. I accept.

TED: I'm delighted.

They walk off together. He immediately walks ahead, then stops, and brings out a CD from behind his back.

TED: Track 4, La prelude a l'apres-midi d'un faun.

CORY: Ohhh, Merci beau coup. I love Debussy.

TED: So the ad said unless you were lying.

CORY: And why would I do that?

TED: Ehhh, sometimes people do that to seem more desirable. But clearly a woman like yourself has no need such acts of artifice.

CORY: (Flirting) You're going to be nothing but trouble, aren't you?

TED: (Flirting back) Only if you let me!

Cory smiles and motions for them to go.


Scene Four: Meanwhile at an outdoor restaurant in Venice Chris apparently has been stood up by her date. Frustrated she walks off, but then decides to go to the bar for a drink. She sits down. She orders a drink. Next to her we see a man's hand, wearing a ring, and fiddling with a flower, which only has one petal. She watches, interested. We see the man as he removes the last petal. He has blonde hair, and is wearing a green and blue checkered shirt, and underneath a white t-shirt.

Chris uncover meets Australian Jeff Armstrong 1 min; 2.5 Meg

CHRIS: Well?

JEFF: (Speaking with an Australian accent, though it appears fake) She loves me!

CHRIS: (Somewhat sarcastic) Lucky you.

JEFF: Well, today anyway. Not for you I gather?

CHRIS: So, where is the lucky girl?

JEFF: I just left her. I was about to head home, but.... you know that feeling when you really connect to someone you just feel great like your buzzing all over? (He pauses) I just felt like staying outdoors.... enjoying the moment. Let my mind wander.

CHRIS: (Getting up to go) Well, sorry, I didn't want to intrude on your--

JEFF: (Interrupting) No, no, no, no (Raising his hand to stop her).... please, stay!

CHRIS: Sure?

JEFF: Absolutely! CHRIS: Thanks, I just got off work and I.... (pausing for effect) didn't feel like going home, just yet. I'm Chris.

JEFF: Jeff Armstrong. Very pleased to meet ch'a.

She offers him her hand and they shake.


Scene Five: Later the offices talk about their "dates" with Palermo. Chris' date Ted seems like a possible suspect so she decides to go out with him again. After investigating, it was discovered that the victims all had remains of Bon Vivant Champagne in their systems. The waiters when questioned all gave different descriptions of the man who was with the victims.

A few days later, they are dining out. Another Pacific Blue cop, Victor Del Toro is sitting at a table, watching Chris and Ted. Ted is ordering the meal from a waiter.

On a date with Cory, Ted is reaveled to be the killer 2:15 min; 5 Meg

TED: I will have the grill Hawaiian tuna, rare. And my beautiful companion will have a lobster. Thank you (The waiter leaves). (Placing his hand on hers) I hope I am not being too assertive. I suppose it is just my Southern upbringing.

CORY: Actually, I enjoy being treated like a lady.

TED: Well, you certainly are that. As well as a woman of mystery.

CORY: I've never been called that before.

TED: The mystery being, how an incredibly lady like yourself go could go so long without being swept off her feet by the luckiest man in the whole wide world. Well, come to think if it right now, that fellow is me.

CORY: So, what is Ted really like behind this facade of Southern charm.

TED: It's no "facade," Cory ..... I hesitate to mention this, but uh.... all this.... is too much for me, you give me my dog, my woods.... stables, someone to share my life with.... now I don't just mean a lover. Someone I can spend all day with, whether traveling Europe or sitting across the kitchen table.

CORY: Ted, I am not sure I'm the one you are looking for.

TED: There's just one way to find out. You come back to North Carolina with me. Now I know it sounds crazy, I got a big old house got plenty of guest rooms.

CORY: (Seems to actually be taken by him) Give me some time, just let's see where things go.

TED: That's all I ask.

Just then she notices the waiter bringing a bottle of Bon Vivant Champagne to their table, which is what is believed to be the champagne that the killer bought for his victims. Del Toro sees the waiter with the bottle and gives a subtle signal to her.

CORY: (Getting nervous) Are we celebrating something?

TED: Spending time with you is cause enough. (The waiter shows him the bottle, and he reads it.) "Bon Vivant." Perfect.

Cory rubs her nose, signaling to Del Toro. Del Toro gets up. Trying to not be suspicious she smiles at Ted. Ted watches with a pleased expression as the waiter pours their drinks.

TED: hmm, (he hands her a glass. She is nervous) Now.... (stopping) I'm sorry, I didn't even ask if you like champagne. Del Toro has appeared behind him. She nervously, but with confidence fiddles with her glass.CORY: Definitely not while I'm on duty.

Ted is confused.

 

JEFF: Well, I didn't. I wanted to see te world so I took off. I've sailed the Orinoco and the Nile. Climbed the Alps and the Andes. Slept in an ancient Mayan temple. Stared up at the ceiling of the Sistine Chapel.

CHRIS: That's not a life, that's an adventure.

Chris on a date with Jeff 1:50 min; 3.9 Meg

JEFF: That's exactly what it should be. You just have to go for what you want. (She nods) Do you know what you what?

CHRIS: Maybe. It changes allot.

JEFF: I'm not saying what you think you should want, but what you deeply, truly desire.

CHRIS: (Hesitating) There's something I need to tell you, Jeff.

JEFF: You're married?

CHRIS: (Laughs) No!

JEFF: You're gay?

CHRIS: (Laughs again) No!

JEFF: What then, you're wanted by the police?

CHRIS: I am the police.

JEFF: (Not reacting) And me with no parking tickets you can fix?

CHRIS: (Sighs) I'm serious.

JEFF: (Laughs) So am I, Chris. Relax.

CHRIS: The day I met you here, I was working, undercover. We're trying to catch a murderer.

JEFF: You were bait then, Chris?

CHRIS: (Laughs) Yes, but I'm not anymore.

JEFF: Ahh, don't underestimate yourself.

CHRIS: I just though you should know.

fJEFF: Chris, I see something I want I don't run away from it. I run towards it. (She seems even more
attracted to him) So this psychopath.... you caught the bloke then.
CHRIS: No not yet, but we're getting close.

JEFF: I don't suppose you can tell me about him, Eh?

CHRIS: Well, all I can tell is that (he listens intently) he seems to know exactly what to say, in just the right way and at just the right moment. But even so, I can't understand how he gets these women he kills to let down their guards so quickly.

JEFF: Maybe because deep down everybody wants to let somebody in. It's a lonely world out there. Maybe we're all just looking for a soul mate.

Chris appears moved by what he has said.


Scene Eight: Through police work they have tracked him down who the killer is, Thomas Leffler. As a child his mother committed suicide and forced him to watch. He was left alone with her dead body for some time. Then he was sent to a string of foster families, some of whom abused him. His first love he murdered after she accepted his marriage proposal. He needs to be in control. Once she accepted his proposal he had lost that. So, now with all the women he tries to gain that control, and then once he wins them over, he kills them.


Scene Nine: Outside Chris' apartment, Chris and Jeff return from another date. Chris apparently has had a good time and is attracted to him.

CHRIS: I still can't see how you convinced me to get up so early on my day off.

JEFF: It was worth it, wasn't it?

CHRIS: (Laughing) Yes, it was. (Stopping in front of her door) I've forgotten how much I enjoy sailing.

JEFF: You mean after you've had your second cup of coffee, and stopped glaring at me.

CHRIS: I wasn't that bad. Was I?

JEFF: (Laughing) Not at all.

She opens the door.

CHRIS: (Motioning) Do you want to come in?

JEFF: (Smirking with pleasure) More than you know.

He kisses her. She pulls back. She becomes uncomfortable. He gradually becomes more creepy.

He does not realize she is on to him. He goes to get the champagne. When he turns his back to her, she grabs a bottle and hits him over the head, breaking it. He groans. She then knees him in the groin. He groans.

He is about to flip out his knife, but she wrenches his wrists. He groans, pushes her and she falls to the floor, and then he runs out the door, in pain. As he opens the door, Cory appears, gun drawn.

The cop leads him to the awaiting patrol car, as Chris and Cory watch.