RIZZOLI

"See One. Do One. Teach One." by JANET TAMARO

(Based on THE APPRENTICE by Tess Gerritsen)

Revised Studio Draft TNT OSTAR ENTERPRISE PRODUCTIONS AUGUST 27, 2009

RIZZOLI by Janet Tamaro

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FADE IN: INT. BEACON HILL - MANSION - GREAT ROOM - NIGHT CLOSE ON: A CHINA TEACUP AND SAUCER. Its wobbling on an unstable surface, we cant tell what... TIGHT ON a MAN'S EYES, TERRIFIED. from a gash on his cheek. A few DROPS of BLOOD SEEP

REVEAL the TEA CUP is balanced on his BOUND KNEES. Duct-taped ankles, knees, wrists, mouth. He FIGHTS the urge to move. A wedding band GLINTS on his left hand. SILHOUETTE OF ANOTHER MAN is BACKLIT by an enormous stained glass window. He FORCES a crying WOMAN to take off her nightgown. We cant make out his features but we can tell that hes grinning. He RAISES his hand. He HOLDS a KNIFE. She SCREAMS. It MORPHS into another sound as we -SMASH CUT TO: TWANG! a basketball BANGS into a backyard hoop. Misses. EXT. RIZZOLI FAMILY HOME - DAY REVEAL DETECTIVE JANE RIZZOLI, 30. She PLAYS B-ball with her brother, FRANKIE JR., 28, a Boston P.D. patrol officer. He has on a BOSTON PD T-shirt. She wears nice sweat pants and a tank top that reads: Scare Yourself Every Day. Janes face is arresting: a quirky beauty that evolved over time. Shes a high-strung Yankee, yet she moves with an athletic grace. She SHOOTS. It goes in. Finally. JANE

FRANKIE JR. Still behind by ten. She SMILES. JANE I will beat you someday. FRANKIE JR. You beat me at everything. Let me be better at something. He has a smile on his face, tries to convince them both that hes joking. But theres too much history and hurt truth behind it. Makes her sad. She PASSES the ball to distract him.

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He RUNS down the driveway for a LAY-UP. She DEFENDS. He THROWS an elbow. CRACK! Ow! JANE

FRANKIE JR. Oh, crap -Blood FLOWS from her nose. Frankie pulls off his T-shirt, HANDS it to her. FRANKIE JR. (CONT'D) Oh, man, Im so sorry, Janie. Ill get ice. JANE Uh...Sokay... She WOBBLES away, holding his shirt to her nose. INT. RIZZOLI FAMILY HOME - KITCHEN - MINUTES LATER Jane uses a faded rooster towel to wipe blood from her nose as ANGELA RIZZOLI, 55, enters. The kitchen, like Angela, was new in the 70s. Both are held together by pride and hard work. She snatches the towel from Jane, hands her paper ones. ANGELA On the nice towels? What happened? Angela scrubs the towel as Jane stops the bleeding. She MIMES wiping blood over Angelas back. Frankie Jr. LAUGHS. ANGELA (CONT'D) Whatre you two doing back there? They laugh like little kids. FRANK SR. (O.S.) Whats so funny? FRANK RIZZOLI, SR. 55, and MIKE MIKEY RIZZOLI, 32, Janes oldest brother, CARRY groceries and a cake. MIKEY Wow, you look great, Sis. JANE Blood is the new black. She pretends to hug him, he BACKS AWAY, WINKS at Frankie Jr. MIKEY You do that?

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JANE I needed a nose job. Dont worry. MIKEY Youre a screw-up, Dude. He CUFFS him playfully, but Frankie Jr. looks STUNG. JANE I ran into his elbow. Cmon, Mikey. Janes cell rings: POP version of DRAGNET THEME SONG. hunts for it. ANGELA Oh, someone named Bird Something keeps calling. Jane and Frankie Jr. trade a knowing LOOK. JANE Detective Crowe? You answered my phone, Ma? Why didnt you tell me? JANE (CONT'D) (into phone) Rizzoli. EXT. BEACON HILL - MANSION - SAME TIME (INTERCUT) DET. DARREN CROWE, 30s, on his cellphone. He has a fratboys insouciance combined with an aging ballplayers good looks. He stands on the lawn of a mansion as CRIME SCENE UNIT (CSU) TECHS and BOSTON P.D. UNIFORMS SWARM in and out of an expensively renovated mansion. CROWE Bad things on Beacon Hill, and youre up. JANE Let me talk to Frost. ANGLE: DET. BARRY FROST, 28, buff African American cop, PUKES into bushes. Crowe taunts him with a SALUTE. Frost pukes again. Hes busy. On my way. CROWE JANE She

Jane hangs up, tosses bloody paper towels into the trash. Her nose has stopped bleeding but Angela hands her an icepack.

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ANGELA It wont be attractive if your nose swells. Never know who you might run into. Ma -FRANKIE JR.

Jane takes the ice, throws Frankie Jr. a grateful look. JANE I meet so many great guys at work. Too bad theyre all dead. She grabs her stuff, starts to exit. Angela FROWNS. JANE (CONT'D) I told you I was on-call -ANGELA Its Frankie Jr.s birthday! FRANKIE JR. Go. Its fine. (wishes he was going) Murder? JANE Yeah. Youll get there, Frankie. She HANDS him a gift. JANE (CONT'D) If you hate it, gift receipts inside. She gives him a quick KISS on his cheek. Jane pecks her mother then her father on the cheek -JANE (CONT'D) Ill call you, Ma. Bye, Pop. See at the salt mines, Frankie. Your ass is getting big, Mikey. INT. JANES CAR/EXT. RIZZOLIS HOUSE - DRIVEWAY - NIGHT Jane gets into her state issue Ford. Its parked next to a van that reads: RIZZOLI & SONS PLUMBING. Bostons Best Since 1954. JANES POV: THRU WINDSHIELD INTO KITCHEN Angela and Frank laugh and fuss over Mikey and Frankie Jr.

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CLOSE ON: Janes hands. WE SEE two nasty and identical HEALED RED SCARS on her palms. She RUBS them absently as she stares at her family. SHOVES her car into reverse and takes off. INT. JANES CAR (MOVING) - NIGHT As she drives, Jane reaches for clean clothes from the back seat. She PULLS UP to a stoplight, wriggles out of her pants. A truck driver SMILES. She SMILES back. His smile grows into a LEER. She REACHES UNDER HER SEAT, while she gives him a shy smile. Grabs something and THROWS it on top of her car: police CHEERY LIGHT. LIGHTS and SIRENS through the red stoplight, enjoying his terrified reaction in her rearview mirror. INT. DR. ISLES CAR (MOVING) - SAME DR. MAURA ISLES, late 30s, behind the wheel of an SL-500 Mercedes. Sleek, like her car, in form-fitting black. Shes strikingly pale with a slash of red lipstick, blunt-cut raven hair. BEEP! Maura SEES a car in her rearview mirror trying to PASS her on the right. She slows down. Driver FLIES past her. Dirt and sand from the shoulder WHIP up around her car. MAURA Go ahead, asshole. I see plenty like you on cold slabs all day long. INT. MAURAS CAR/EXT. BEACON HILL MANSION - CONTINUOUS She pulls the SL-500 into a long driveway, parks next to a coroners van with black letters: Commonwealth of Massachusetts, Office of the Medical Examiner. TWO MORGUE ATTENDANTS wave from the front seat. She waves back. REPORTERS and CAMERA CREWS work the taped-off crime-scene, hovering as close as COPS will let them. She gets out. ANGLE ON: REPORTER KITTY VANSEN, 31, TV-pretty as she SPIES Maura. She PUSHES her beleaguered CAMERAMAN toward Maura. He perks up: SCHWING. Dr. Maura Isles may be a cold pathologist, but shes also a smokin hot woman. KITTY Go, go. Its Queen of the Dead. Get her and stay close. Maura, with her medical case, deftly moves away from Kitty as Kitty and the cameraman run. Kitty shoves a mic at Maura.

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KITTY (CONT'D) Dr. Isles -- What can you tell us about the murders? MAURA Ill have a statement for you later tonight, Kitty. KITTY Cmon, please, something for the 11oclock? This leads. Maura starts up STEPS as Crowe puts out a hand to stop Kitty from going any further. She backs away. KITTY (CONT'D) Bet if I was a corpse, shed talk to me. Maura enters the mansion. Crowe casually applies chapstick and smooths his Ken-doll hair then turns back to Kitty. CROWE Ill give you a soundbite. ANGLE ON Jane as she POWERS toward them, steps between Crowe and Kitty, BLOCKING the shot. Cameraman lowers his camera. JANE Wheres Frost? CROWE Where else? Crowe points at Frost, nearby and partially concealed by bushes. Hes stopped puking, but he doesnt look good. FROST (calls to her) Bad fish sticks. Crowe SNORTS as Frost CROSSES to join Jane. JANE Least hes not trying to get his mug on-camera. Jane pulls a small tin of Vicks VapoRub from a pocket, hands it to Frost. He rubs it under his nose. They walk up the front steps. Jane REACHES for the door. She pulls her hand back and rubs her palms together. She catches Frosts concerned look. JANE (CONT'D) Its going to rain.

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FROST Hands hurt? JANE Not that bad. INT. MANSION - NIGHT Jane and Frost stand in a marble entry, stare at a vast home. Polished, old wood, cathedral-height ceilings. JANE (CONT'D) Not in South Boston anymore, Dorothy. DET. VINCE KORSAK, 50s, doughy in his shirt sleeves and breathing hard, appears from another part of the house. Korsak? JANE (CONT'D)

Korsak EYES Frost, not happy to see him. JANE (CONT'D) You know my new partner. FROST Good to see you. Thought you were on vacation. KORSAK Cut it short. He looks intently at Jane, his old partner. She senses something more than just antipathy toward Frost. That bad? Worse. JANE DET. KORSAK

INT. BEACON HILL - MANSION - FAMILY ROOM - LATER CLOSE ON the body of a MAN: the bound man we saw earlier. No sign of the woman. His throat has been SLIT, and hes seated, propped against a wall under a comets tail of dried BLOOD. Jane, Frost and Korsak, all gloved, process the crime scene as Maura SLIDES a tongue depressor into the deep neck wound. It goes almost all the way in. Frost turns away. MAURA Almost 5 centimeters.

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FROST If you got this, I can start processing the rest of the house. Jane nods sympathetically. Frost exits. Korsak smirks. MAURA Carotid artery and jugular have been transected. Whats odd is how precise it is - almost surgical. JANE You think our perp might have some medical training? Maura nods, looks up and studies Janes broken nose. MAURA Hairline fracture of the nasal bone above the lateral nasal cartilage. Not disfiguring. Korsak looks at the corpse, confused. KORSAK Looks pretty disfiguring to me. JANE Can you pop it out? Maura pulls off her gloves. Korsak watches, baffled. MAURA Cant you do something safe like yoga? Might hurt a little -Maura POPS Janes nose into place. JANE Ow! A little? MAURA Put ice on it for the next 24 hours so you dont look like Mike Tyson. Jane turns to Korsak. Who is he? JANE An audible CRACK!

KORSAK Dr. Richard Yeager, 36, pediatrician. Housekeeper found him. Hes a newlywed. Wife Gail is missing.

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Jane SCANS photos of a beautiful bride and groom arranged on a baby grand. She absent-mindedly touches the piano, so familiar with the instrument, she TAPS KEYS like theyre an extension of her body. PLAYS a few notes of the haunting Falling Slowly. JANE Needs tuning. Nobody plays. Jane sees a shot of the bride showing off a big diamond ring. JANE (CONT'D) Diamond was too small so she whacked him and walked out? KORSAK No. We got signs of forced entry. Jane looks carefully at Dr. Yeagers body. Her face takes on a haunted look as she finds something. She LIFTS pieces of a broken china cup and saucer from next to the body. JANE Well-to-do couple. The man bound and posed. The woman missing. And a teacup... QUICK POP: SCALPEL glints in a mans hand as he DRIVES IT through something to SKEWER it to a dirt floor. Its so quick and so dark, its hard to tell what the something is -- but it looks like a WOMANS HAND. BACK TO SCENE Jane squeezes her hands into fists. JANE (CONT'D) Is he out? Is the Surgeon out? MAURA Oh my God. Korsak, did you know this? KORSAK No, no. Hes not out. Its his M.O. thats all. MAURA Why didnt you warn us? Warn Jane at least. KORSAK Im sorry. I wanted your unbiased assessment. Maura moves to Jane.

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JANE We put that son of a bitch behind bars. How is this possible? KORSAK Listen to me: Its not him, its not the Surgeon. I checked with prison authorities: hes in lockdown at Souza-Baranowski. Jane reflexively rubs her palms together. MAURA Lets make sure. Jane nods, DIALS her cell. JANE (to phone) Frost, call I.P.S. at SouzaBaronowski. I want a visual on Warren Hoyt...yes, now. And tell em I want video confirmation. She hangs up, TRADES a LOOK with Maura. Walks to the victim. CLOSE ON red circular marks on the corpsess skin. She GASPS. JANE (CONT'D) Hes been Tasered. Like Hoyt did... KORSAK Any sick perp could do this if he watched TV news or read a paper. Weve got a copycat. JANE No -- you said it was worse. It is. We didnt release this detail. She turns her face so only Maura can see her fear. JANE (CONT'D) Hoyts trained an Apprentice. INT. HOME GYM - NIGHT A MAN in silhouette works a heavy set of barbells as he watches local news on a small TV. Theres a strange tattoo that encircles his elbow: 68W HCS. We realize its the MAN who terrorized the Yeagers. CLOSE ON TV as Janes face POPS up -MATCH CUT TO:

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INT. SOUZA-BARONOWSKI PRISON - MAX SECURITY REC ROOM - SAME Janes face. PULL-BACK to REVEAL PRISONERS watching footage of her in a local crime story. FIND WARREN HOYT, 40s, watching. Good-looking, a guy who might drive a Volvo and listen to talk radio. And then we see his eyes: inhuman evil is embedded there. He SMILES and FINGERS something in his pocket. He BLOCKS TV SCREEN. HOYT Hello, Jane. So good to see you. A pissed and BURLY Chicano prisoner, MIGUEL, 20s, PUSHES Hoyt from behind. MIGUEL Hey, Hoyt, vendejo! Move! With sudden, manic intensity, Hoyt pulls a homemade SHIV he had concealed in his pocket. He DRIVES it neatly between the mans ribs. Catches the man as he FALLS FORWARD. Miguel! PRISONER (O.S.)

HOYT Through the pericardium, into the aortic chamber. Im grateful you volunteered to help, Miguel. This will be over in seconds. Hoyt LAYS his hands in the STREAM OF BLOOD pumping from the dying mans chest. He has the look of someone at the height of sexual pleasure. PRISONERS YELL as GUARDS RUN in, clubs out. GUARD 1 YANKS Hoyt to his feet. GUARD 2 Back! Everyone get back! Hoyt is serene as hes cuffed and led past hardened criminals who step away from the deadliest one in their midst. Hoyt SMILES up at the TV as footage of Jane still plays. HOYT Its time, Jane. FADE TO BLACK. END OF ACT ONE

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ACT TWO EXT. BEACON HILL - MANSION - NIGHT Jane and Korsak walk toward a CSU van. The lawn and driveway are still swarming with CSUs, news crews and Cops. Im sorry. KORSAK

JANE Stop. Im a cop first, Hoyts victim a distant second. He looks at her, wants to say something. Finally -KORSAK Hoyts the reason you dont want to be partners, isnt he? JANE This again? You know why: Im allergic to cats. And dogs. And all the other sad, furry creatures you keep rescuing, Detective Doolittle. KORSAK (suspicious) You never sneezed. JANE Frost is my partner now. KORSAK Paper cuts make him gag. JANE He came from Narcotics. Gore is new to him. Hes a good detective. They grab metal cases from the back of a CSU van, head back inside. INT. BEACON HILL - GREAT ROOM - NIGHT Maura MAKES notes as Jane and Korsak set up equipment. As two MORGUE ATTENDANTS try to force Dr. Yeagers rigor-mortis stiffened body into a body bag -MORGUE ATTENDANT 1 Hes not gonna bend. MAURA Watch the head. Its attached by fascia.

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They TIP the body onto a stretcher. Jane moves to where the body was propped. She bends down, looks out at the room. REVERSE ANGLE: coffee table in the center. JANE Our perp went to a lot of trouble with that teacup. He wanted to know if Yeager moved. Why? What was he doing? And why force Yeager to watch? Lets move the table. Korsak moves it as FBI SPECIAL AGENT GABRIEL DEAN, 35, enters. GQ-handsome and completely unaware of how hot he is. He BADGES Jane. AGENT DEAN Special Agent Gabriel Dean. You must be Det. Rizzoli. He turns solicitously to Maura, admiring her. AGENT DEAN (CONT'D) And you must be Dr. Maura Isles. Maura smiles unexpectedly, removes her latex gloves to shake his hand. The chemistry between them isnt lost on Jane. JANE Whats the FBI doing here? AGENT DEAN Saw the homicide advisory. And possible kidnapping. We have an APB out on Gail Yeager. JANE So do we. You get a lot of routine advisories. What makes this one special? AGENT DEAN Hey, were on the same side. JANE Are we? You Fed Boys like to show up to take the bat and ball. Ill call you if I need you -- Boston Bureau? Morgue Attendants carry the body out. As Maura leaves -MAURA Jane, Ill do the autopsy in the morning.

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(to Dean) Come if you like. Dean smiles. Jane shoots Maura a look that could kill: thanks a lot. Maura shrugs innocently and exits. AGENT DEAN Im just here to observe. JANE Lets do luminescence where the table was. KORSAK This baby is 400 watts. Picks up everything. Jane HITS the lights. The Crimescope makes their faces GLOW GREEN as a PATCH of carpet that was under the table LIGHTS UP a bright white. Jane FLIPS the lights ON. She looks grim. JANE Semen. He made her husband watch while he raped her. Just like Hoyt. EXT. BEACON HILL MANSION - NIGHT CLOSE ON: video of Hoyt, alone in a cell. JANE (V.O.) Airtight alibi, all right. Frost SHOWS Jane video of Hoyt on Frosts cellphone. Korsak SLUMPS against a car, RUBS his sleepless eyes. FROST He killed a prisoner tonight. Stabbed him with a shiv he made from a razor and a spoon. JANE Tonight? Thats not a coincidence. A light RAIN FALLS on them as Jane pulls out car keys. JANE (CONT'D) We cant get in the prison until 7:00. Korsak, go get some sleep. KORSAK Wherere you going? JANE Ill explain later. Cmon, weve got just about enough time. OFF Frosts confused look --

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EXT. DR. ODONNELLS VICTORIAN HOUSE - NIGHT CLOSE ON a hand as it BANGS on a door. Reveal Jane and Frost at the front door of a beautiful Victorian home. FROST Maybe we should wait til morning. JANE Shes Hoyts only visitor. FROST You saying shes the Apprentice? JANE Thatd surprise even me. Look at this place. Built on the bones of victims. Shes almost as sick as these perps she studies. DOOR swings open. Facing them: DR. JOYCE ODONNELL, 40s, Grace Kelly classy with the same sheet of blond hair. DR. ODONNELL Detective Rizzoli. What an unpleasant surprise. JANE We need to talk. DR. ODONNELL (closing door) Call my office. Jane STOPS the door with her hand. JANE We have a killer out there. His signature is identical to Hoyts. We can see from the way Dr. ODonnell tries not to stare that she knows how Jane got those scars on her palms. INT. DR. ODONNELLS HOUSE - LIVING ROOM - NIGHT Dr. ODonnell sips tea from a Mid-Century Modern set. Jane and Frost dont touch theirs. Her living room is like her: expensive and calculated -- perfect for a Vanity Fair spread. DR. ODONNELL Im a forensic psychiatrist. My work advances our understanding of these troubled men. Im not sure how I can help you.

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JANE You visit him. Could he have trained some perp he met inside, someone as deranged as he is? Dr. ODonnell gets up, pulls a file from a cabinet, rifles through it and holds up a photo of a second grade boy. DR. ODONNELL You can only see the end result. This is Warren at seven. JANE Hes called the Surgeon because he enjoys cutting women and their partners up with a scalpel. Seven at last count. I have a hard time worrying about his sad childhood. DR. ODONNELL You think of violent acts as manifestations of evil. As though Warren has control over his behavior. Like many others, he doesnt know why he kills. JANE Thats why Ill always have a job. As shes talking, Jane subtly plays with a few strands of her hair. Not girly, just distracted. DR. ODONNELL Did you know hair twirling is often a sign of sexual frustration? JANE That right? I always wondered. Better get on with my night then. Jane smiles politely, STANDS. Frost follows her lead. JANE (CONT'D) Thanks for your time. EXT. SOUZA-BARANOWSKI PRISON - ESTABLISHING - DAY Jane and Frost walk up to the main entrance. Jane puts fingers in her hair absently, stops, now aware of her habit. FROST You sure you want to do this? JANE Im sure I dont.

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INT. SOUZA-BARANOWSKI PRISON - INTERVIEW ROOM - LATER Jane and Frost face Warren Hoyt. His hands are shackled but hes as comfortable as a man chatting at Starbucks. HOYT Youre different, not like the others. I feel your anger, absorb your rage, just by your scent. He takes a deep inhale, smiles. She fights to stay steady. JANE See one. Do one. Teach one. Thats what they taught you in medical school. Who did you teach, Hoyt? HOYT I dropped out, Jane. You know that. I like your neck. Its very white. And your breasts. Very firm. JANE You think youre Hannibal Lector? Dont flatter yourself. You think I cant make your life more miserable than it is? Hoyt smiles, turns to Frost. HOYT I like an audience. I prefer it when theyre tied up, but silence works, too. JANE Who did you sic on the world? Gimme me a name. HOYT All my life I have been meticulous about finishing what I start. This disturbs me. That I havent finished what I started with you. JANE And you wont, you sick scumbag. HOYT Very good, Jane. Youve learned how to irritate me. You know, my mother smelled of Chanel #5 and mink when she pinched my skin. She liked to grab me here --

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He lifts his shackled hands to indicate his throat as a GUARD reacts. Hoyt lowers his hands. Guard steps back. HOYT (CONT'D) Perhaps thats why Im partial to the throat. Do you dream about me? I dream about you. JANE I dont think about you. But Ill visit every goddamn day if you tell me who your friend is. Who killed Dr. Yeager and wheres his wife? Hoyt MOTIONS for the PRISON GUARD. HOYT (like a therapist) I see our time is up. He stands, not bothered that his ankles are shackled. Like a caged but still powerful lion, he deftly shuffles to the door. He stops, looks at Jane. A parting volley -HOYT (CONT'D) Youre right -- my friend is out there. Enjoy him. Hell enjoy you. She watches him leave, FIGHTS to maintain her composure. Swell. JANE

Her cell RINGS. She JUMPS. Exhales hard, calmly answers. JANE (CONT'D) Rizzoli...were on the way. She hangs up, looks at Frost. JANE (CONT'D) They found Gail Yeager. INT. JANES CAR/EXT. STONYBROOK PARK - DAWN Jane pulls in, stops. She rubs her jaw, LOOKS through the windshield. Agent Dean STEPS from the woods to join Korsak and Crowe. Frost gets out. JANE Ill catch up. Jane DUMPS out her purse: gum, balled-up tissue, Boston Red Sox water bottle, Vicks VapoRub, a touch-screen Sudoku Puzzle. SEARCHES but cant find what shes looking for.

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Puts her hand between the seats. SMILES as she holds up a tube of old lipstick: Eureka. EXT. STONYBROOK RESERVATION - WOODS - DAY Jane approaches Dean, Korsak, Crowe and Frost. CROWE You wearing lipstick, Rizzoli? Jane looks at a shaken MAN with a Labrador. JANE Dog find her? Yup. KORSAK

(channels dog) Mmmm-mmm. Dead lady, my favorite. AGENT DEAN Dr. Isles is in the woods with the body. Ill show you. They push through brush as Korsak fawns over the dog. KORSAK Whos a good boy, huh? CLOSE ON a womans body, her long blond hair a stiff mat of straw. Shes naked, her abdomen bloated. Maura uses a hypodermic needle to extract fluid from the corpses eyeball. MAURA Vitreous potassium. Gives us an estimate for post-mortem interval. Maura SHOWS the syringe to Jane. MAURA (CONT'D) Nice and clear. JANE Damnit. We couldve saved her. MAURA Dont go there, Jane. Shes been dead at least 48 hours. JANE Look at the way the bodys laid out. Why didnt he bury her? MAURA Its odd, isnt it.

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AGENT DEAN Didnt have time. JANE I dont think so. Means something. AGENT DEAN You know more about Hoyt than anyone. Whats the Apprentices next move? JANE Hed kill again. INT. MEDICAL EXAMINERS OFFICE - MORGUE - DAY BODIES of Dr. Yeager and Gail Yeager are on separate metal tables. Maura WORKS on Gails body. Korsak has on a large O.R. gown and bouffant paper cap. He EATS a cheese Danish. Jane enters. He offers her one from a box. KORSAK (mouth full) Want one? JANE (re: dead bodies) Maybe they do. KORSAK Nope. Not hungry. Wheres Frost? JANE Uh, bathroom. Maura smiles. Korsak nods, a little smug. JANE (CONT'D) Prison was a bust. Hoyt has no contact with any prisoners. Email, correspondence, all a dead end. KORSAK So howd he train an Apprentice? JANE Someone he knew before prison? school, maybe? AGENT DEAN (O.S.) Did you do a wet prep yet? Jane WHIRLS around, startled by Deans sudden appearance. She and Maura exchange a LOOK. Med

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MAURA I hadnt planned to but I can. Maura takes a scraping from Gail Yeagers vagina (we dont see this), puts it on a slide, LOOKS through a microscope. MAURA (CONT'D) Sperm is motile. KORSAK You mean like its moving? MAURA Thats what motile means. Jane turns on Dean. JANE How did you know? AGENT DEAN (evasive) I didnt. JANE Yes, you did. MAURA (siding with Jane) Its not standard procedure to check to see if the perp is also a necropheliac. Deans cell rings. He walks out to take the call. JANE FBIs hands are all over this case. MAURA Somethings not right. PRE-LAP AUDIO: MAURA (CONT'D) It just got weirder. INT. MAURAS FORENSICS LAB - DAY Jane, Frost and Korsak are in Mauras tricked-out lab. Maura lets Jane look through a MICROSCOPE. She does. JANE Its a strand of hair.

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MAURA Technical name is Zombie Hair. JANE Its Gail Yeagers? She shakes her head, no. FROST It was transferred from the perp to Gail Yeagers body? MAURA Had to be. I found blue carpet fibers, too, And look at the root. Notice anything strange? POV THRU MICROSCOPE: the hair looks like the end of a broom. JANE It looks ragged, almost like a brush. Korsak pushes her aside to get a look. Frost looks irritated. KORSAK Theres a black band near the root. Korsak hogs the microscope as Frost clears his throat. MAURA Distal banding and brushlike root ends are postmortem changes. Whoever were looking for had close contact with a corpse. KORSAK Wait -- so our Apprentice had sex with Gail Yeager after she, uh, expired. And sex with -(points at hair) -- a different woman who was, uh, also expired and decaying. He shakes his head, unnerved by this thought. Frost inadvertently GAGS. The two men unexpectedly share a LOOK as their faces register the same thing: Ick. Korsak looks away. JANE Weve got another victim or our Apprentice works with dead bodies. FROST What about someone in a funeral home? Gail Yeager buried her mother two weeks ago.

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As Frost and Jane start to leave, Korsak follows. FROST (CONT'D) We got this. Jane TOSSES Korsak an apologetic shrug. INT. WHITNEY FUNERAL HOME - DAY JOEY VALENTINE, 30s, is dressed like an artist: cool specs and shirt. Takes his exterior-decorating of the dead very seriously. He looks at a photo of Gail Yeager as Jane and Frost watch him. JOEY Sure, I remember her. Had to convince her to let me use Mac Glam and a curling iron on Mom. She turned out beautifully. Features really popped. Joey masterfully dusts the dead woman with a blush brush. JANE You dont have an embalmers license. JOEY Havent gotten around to it. FROST Because you have a criminal record. Joey freezes, holding out the make-up brush. JOEY Youre not gonna tell my boss? JANE Only if you killed Gail Yeager. Where were you Wednesday night? JOEY Here. Look, everybody told me what a good job I did, how alive Mom looked, so why would I kill Gail? Jane shows him a search warrant. JANE Well need to search the premises and your car. Frost starts to exit. Jane hangs back, makes sure he cant hear her. She puts a hand to her healing nose.

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JANE (CONT'D) Um...can you recommend something to cover bruises? INT. SOUZA-BARANOWSKI PRISON - HOYTS CELL - SAME FOOTSTEPS can be heard as GUARDS approach down a long corridor. Hoyt reaches under his thin mattress, pulls out a crumpled tissue. Inside is a BLUE PILL. He dry swallows it, lies back. Guard RAPS on the bars. GUARD 2 Lets go, Hoyt. You got your one hour on the yard. They open his cell, but Hoyt clutches his abdomen and MOANS. They PULL him up, try to get him on his feet. But he PITCHES forward, his eyes ROLLING back in his head. He COLLAPSES. GUARD 2 (CONT'D) Hes faking. Be careful. Guard 2 KNEES Hoyt in the balls. He doesnt react. GUARD 1 He aint faking. Guard 1 grabs his Walkie-Talkie. GUARD 2 I need Medical on Cell Block 4Adam. Got a man down. INT. BOSTON P.D. PRECINCT - HOMICIDE - JANES AREA - DAY Jane and Frost are working. She stands, stretches then studies a Boston map with colored PUSH PINS. JANE Hoyt hit here, here and-She puts her finger on a RED push pin. JANE (CONT'D) Here. My apartment. The Apprentice hit here. Theres no pattern. FROST Yeah, there is: all the murders are within Boston city limits. A heavy beat as she realizes what Frost means -JANE To make sure I was on the case...

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FROST You should eat something. I ordered a pizza. Frost exits. Jane goes back to work. Doesnt see or hear a MAN silently approach her in the SHADOWS. CLOSE ON: MANS BLACK LEATHER SHOE. Jane. Man (O.S.)

Jane STARTLES. REVEAL Man: its Frankie Jr. dressed for work in his BOSTON PD PATROL OFFICER uniform. JANE Frankie, you scared me. Sorry. FRANKIE JR.

Hes miserable. He holds out a graded exam. She looks at it. Its bad. She puts her arm around her bigger little brother. JANE You can take it again. Youll pass. He LOOKS at her, as close to tears as a strappy, athletic tough guy can get. He SHAKES his head. FRANKIE JR. Jane, this was the third time. You took it once. I guess Im not cut out to be a detective. FROST (O.S.) Hey, Frankie. Frost is back with a pizza. FROST (CONT'D) You on tonight? FRANKIE JR. Uh, yeah, just finishing my shift. FROST Want some pizza? FRANKIE JR. No thanks. See you soon. He pecks her on the cheek, EXITS. Jane watches him leave, concerned and powerless.

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He okay?

FROST

JANE Uh, yeah. Some girl thing. OFF Jane, troubled. INT. MAURAS OFFICE - NIGHT Maura is on her computer as Jane enters. Shes holding two cans of tuna fish and a box of crackers. Hey. MAURA

JANE Brought you some gourmet take-out. She hands Maura a can. Maura POPS it open, grabs two plastic forks, hands one to Jane. Agent Dean enters. He sniffs, makes a face. AGENT DEAN Someone eating cat food? Jane HOLDS UP the can of tuna. JANE Its a chick thing. Whats up? AGENT DEAN You might want to sit down. Jane and Maura trade a look: uh-oh. AGENT DEAN (CONT'D) This morning, at around 10 a.m., Warren Hoyt escaped custody. ON Jane as she DROPS heavily into a chair. Oh shit... JANE END OF ACT TWO

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ACT THREE INT. SOUZA-BARONOWSKI PRISON - HOSPITAL - SURGERY ROOM - DAY CLOSE ON SECURITY FOOTAGE: an unconscious Hoyt is prepped for surgery by a DOCTOR and a NURSE. As an ANESTHESIOLOGIST is about to inject him, Hoyt LUNGES up, brandishing a SCALPEL. Within seconds, hes used it TO KILL all three people. PULL BACK: WARDEN, Jane and Dean watch the carnage. JANE My god...Why wasnt he cuffed? WARDEN He was unconscious. Two doctors have assured me he was suffering from appendicitis. JANE He went to medical school, and you let him volunteer in the pharmacy. He couldve faked it. WARDEN I dont think so -JANE 200 milligrams of Decadron would give him an abnormal white-cell count. Mimics all the symptoms. WARDEN How do you know that? JANE Five minutes of research. AGENT DEAN Doesnt explain how he got out of here. WARDEN Weve looked at all the security tape, tracked everyones movements. We had a food delivery, the coroners office picked up a body, and three prisoners were transferred. Theyve all been cleared. JANE Could he still be inside? WARDEN Were in lockdown while we search.

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Jane turns back to the monitor which has continued to play. CLOSE ON: Hoyt as he LOOKS DELIBERATELY INTO THE SECURITY CAMERA. He SMILES as he RAISES his left hand. Holds a scalpel to it, THEN PRICKS HIS PALM. It trickles BLOOD. WARDEN (CONT'D) Whats he doing? Jane folds her hands together to HIDE her scars. Jane trades a look with Dean. Hes watching her intently. JANE Its a message for me. EXT. JANES APT. - DRIVEWAY - NIGHT Frankie Jr. and Frost surround Jane protectively. FRANKIE JR. Go stay with Mom and Dad. JANE No. Im staying in my home. Hes not doing this to me again. She WALKS toward the entrance to her building. Go home. JANE (CONT'D)

FRANKIE JR. You know thats not gonna happen. JANE If I was a guy, you wouldnt worry like this. FROST He doesnt kill men. As she walks away -JANE Im a homicide cop. Hes not gonna kill me. INT. JANES APT. - KITCHEN - NIGHT Jane looks exhausted. She finishes unloading her dishwasher. Then mixes water and orchid food in a glass pitcher. A NOISE STARTLES her. She grabs her gun, points it at -- the icemaker as it makes another batch of ice.

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JANE God-damnit. She grabs the pitcher, carries it to -LIVING ROOM She waters orchids that float out of Italian pottery. Her apartment is warm and inviting. She checks the deadbolt, moves to a window, lifts a curtain. JANES POV: a Crown Vic with Frankie Jr. and Frost sits across the street. Frankie Jr. gives her a you okay look. She nods, DROPS the curtain. Looks around at her impeccably neat apartment. PULLS out a vacuum, starts to vacuum. INT. JANES APT. - LIVING ROOM - LATER Janes interrupted by a loud RAP at her door. She turns off the vacuum, looks out her peephole. Opens the door to AVERY MCMILLAN, 20s, pretty and a night owl holding a law book. JANE Oh, god, Avery. Im sorry. Did the vacuum wake you up? AVERY No, I was up studying. JANE Hows law school? AVERY Awful. Remind me again why I thought I wanted to be a lawyer? JANE I know the feeling: Where the hell was I on Career Day? They smile at each other. JANE (CONT'D) You want to come in? AVERY Two hundred pages of Torts to go. Just making sure youre okay. JANE Yeah, why would you ask that? AVERY You always vacuum when you have a really tough case.

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JANE Better than drinking. Sorry. Ill stop making so much noise. Night. Jane closes the door, looks around at her silent apartment. EXT. JANES APT. BUILDING - LATER Jane walks up to the Crown Vic, leans in. JANE You dont have to follow me. FRANKIE JR. Were staying with you. JANE Get a patrol car here. I dont want Hoyt using his scalpel to turn my neighbors into crafts projects. EXT. MAURAS HOUSE - NIGHT A HAND KNOCKS. PULL BACK TO REVEAL Jane knocking hesitantly. Then harder. The door swings open. Maura answers, as beautiful as ever, in yoga pants and a silk tank top. JANE Why do you always look like youre about to do a photo shoot? Im taking you up on your offer. MAURA Good. Im glad you did. JANE I brought my security team. Jane points across the street. Maura looks out her window. ANGLE ON: Frankie Jr. and Frost sit in a car together. They wave. Maura waves back. INT. MAURAS HOUSE - NIGHT Its as beautiful and tasteful as its owner. Jane RUBS her jaw. Maura looks concerned. MAURA T.M.J. Temporomandibular joint disorder. Open your mouth. Jane does. Maura looks --

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MAURA (CONT'D) Your molars look like youre 102 from grinding. JANE Thats the nicest thing anyones said to me all day. MAURA Under any stress, Detective? JANE You mean, other than the fact that an escaped serial killer lune is trying to kill me again? No. MAURA Ill show you some exercises to relieve the jaw pain. JANE What if you just help me kill Hoyt? Maura smiles. INT. MAURAS HOUSE - GUEST ROOM - NIGHT Jane fingers the bedspread in a HOUSE BEAUTIFUL room. It looks like the tags have just been removed. She smiles. JANE Will it bother you to have a live person in your house? MAURA Only a little. JANE Im glad Im not the only one who doesnt have time for a love life -Shes interrupted by a KNOCK on the front door. JANE (CONT'D) Or not. God, Im sorry. You were expecting someone. Im gonna go -MAURA Hes dropping something off. Stay. Maura exits. Jane hears VOICES, cracks open the door. Its Dean. ON DEAN As he hands Maura a 9 x 11 envelope.

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MAURA (CONT'D) Janes here. DEAN I know. Ill go. MAURA I dont feel right about not telling her. You cant. DEAN

ON JANE, like a 7th grade girl whos seen her best friend with the boy she likes. She CLOSES DOOR, lays on the bed. Maura KNOCKS. JANE Go away. Im asleep. Maura walks in, lays on the bed next to Jane. STARE at the ceiling. JANE (CONT'D) Are we having a sleepover or is this your way of telling me youre attracted to me? They both GIGGLE at this thought. MAURA Im not seeing him. Yet. JANE They both

MAURA Somebody should, dont you think? Yup. JANE

MAURA Should we draw straws? JANE What if we just show him our tits, let him pick? Maura HITS her with a pillow. JANE (CONT'D) Whatd he want? MAURA I cant say.

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JANE Fine. Go sleep in your own room. Jane -MAURA

JANE Did you ever like the same guy as your best friend? No. MAURA

JANE Did you ever have a best friend? No. MAURA

JANE Youd tell me if you were a Cyborg, right? MAURA No, I dont think I would. They both laugh. Its quiet for a beat. Then, like little girls at a sleepover -JANE Dean is really hot. MAURA Shut up. I wont be able to sleep. INT. MAURAS HOUSE - GUEST BEDROOM - DAWN Jane wakes, looks around, confused. Remembers where she is, grabs her things and tiptoes out. INT. JANES CAR - DAY Jane drives. Her cell rings: a disturbing SCI-FI tone. Hi, Ma. JANE

ANGELA (V.O.) Whats the matter with Frankie Jr.? JANE Ma, Im on my way to work.

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ANGELA (V.O.) Hes acting like the world is ending. He tells you everything. What is going on? JANE Going into the garage. Cant hear you. Call you lay-(as she hangs up) --Ter. INT. BOSTON P.D. PRECINCT - HOMICIDE - JANES AREA Janes working with Frost, going through Hoyts MURDER BOOK. JANE Did Dean say anything -- why he was visiting Dr. Isles at 3 a.m.? FROST He was surprised to see us. Said he was dropping something off. Asked why you were there. JANE Whatd you say, Im a wuss? FROST Yeah. Thats exactly what I said. Maura walks in with two big lattes, holds one out to Jane. Jane opens the lid. JANE Too much foam. She HANDS it back. Maura looks concerned. Jane CRACKS UP. JANE (CONT'D) Im kidding. Thank you. MAURA I have some good news and some bad news. Good news. JANE

MAURA I was able to ID the carpet from Gail Yeagers body. Navy Blue 428. Used in automobiles. JANE That narrows it down.

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MAURA To 1.2 million. Blue is a popular color. JANE Whats the bad news? MAURA No hits on the semen or the fingerprints. Our Apprentice is a ghost. Jane sighs. Her cell rings again: DRAGNET ring. JANE (to phone) Rizzoli...where? She hangs up, TURNS to Maura. JANE (CONT'D) Weve got another body. INT. ENORMOUS CAPE COD HOUSE - DAY CLOSE ON: DEAD MAN. Hes SLUMPED against a wall, bound and bloody and very dead. Dean looks on as Jane studies a photo Korsak shows her of a YOUNG COUPLE. MAN in the photo is their victim. KORSAK Alexander Ghent. His wife, Karenna. JANE Let me guess: shes missing. (off his nod) No sign of a teacup this time. You know what that means. KORSAK The Apprentice didnt need a warning device because he had a pal: Hoyt. JANE (to Dean) Why are you here before us? Before he can answer, Frost pokes his head in. FROST Jane, you better come see this.

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EXT. ENORMOUS CAPE COD HOUSE - MINUTES LATER A FLORIST DELIVERY MAN holds a wrapped flower arrangement. DELIVERY MAN Hey, all I know is I got a delivery for a Detective Rizzoli. JANE (to Frost) Check him out, will you? She takes the card off of the arrangement with gloved hands. You can almost hear her heart beat with fear as she reads it: CLOSE ON: typed signature. Prickly on the outside, succulent on the inside, just like you. Best - Henry Dudboot. In the b.g., Frost continues to interrogate the Delivery Man. Korsak looks over her shoulder, reads the note. KORSAK Whos Henry Dudboot? CLOSE ON: computer screen. The name HENRY DUDBOOT rearranges into THEODORE BUNDY. INT. BOSTON P.D. PRECINCT - HOMICIDE - JANES AREA - SAME Jane is on her computer. Korsak sits next to her. JANE Its an anagram for Theodore Ted Bundy. Bundy was fascinated by necrophelia. Frost enters on this. FROST Clever. He paid with a one-off credit card. Used a payphone. None of its traceable. JANE Hoyts playing with me. But I think I know what this means. Jane GOOGLES Bundy, finds what shes looking for, reads it -JANE (CONT'D) The grounds where you kill them or leave them become sacred to you, and you will always be drawn back. Bundy said that. Sacred Ground. Thats why they didnt bury her.

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KORSAK Gail Yeager. He didnt bury her so he could visit -JANE --any time he wanted. But we took Gails body, so he needed a replacement: Karenna Ghent. The grounds where you leave them become sacred. Maybe hell go back. KORSAK Be kind of stupid. JANE Lets stake it out. What else do we have? KORSAK What if its a trap? JANE Its Hoyt -- we assume its a trap. EXT. BOSTON P.D. - PARKING LOT - NIGHT Frost and Jane walk toward her car. Korsak lags behind, looking sad. Jane stops, walks back to Frost. JANE Korsaks being a baby. You mind riding alone? He good-naturedly shakes his head, no. She tosses KEYS. JANE (CONT'D) Well cover the north end of the park. You take the South. (to Korsak) Oh, for chrissake, lighten up. INT. KORSAKS CAR (MOVING) - NIGHT Korsak drives. Hes happy. Jane rides shotgun. She sniffs. JANE What is that smell? KORSAK (innocent) What smell? JANE You know exactly what smell. Theres a cat in here.

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A HUGE tabby cat emerges from between the seats. MEOW. KORSAK Its just Barney Miller. Jane turns away from Korsak, PINCHES the septum of her broken nose to trigger a sneeze. It works: she SNEEZES. KORSAK (CONT'D) Hey, you sneezed. JANE I told you, Im allergic. Its him or me. Korsak SUDDENLY WRENCHES the wheel, PULLS over and STOPS. He GRABS a cat carrier from the trunk of the car, PUTS Barnie Miller inside. WOOF! Jane LOOKS at the cat. WOOF! A DOG BARKS nearby. Korsak MARCHES toward the sound. Korsak -JANE (CONT'D)

EXT. TWO-LANE ROAD - SHOULDER - NIGHT Korsak MAGLIGHTS bushes. Jane follows. His LIGHT HITS a dirty Maltese with a cute face. KORSAK Hello, boy. (checks dogs parts) Scuze me - Girl. Whatre you doing by yourself? Wheres your collar? JANE How do you do that? Do you wear a homing device? INT. KORSAKS CAR (MOVING) - LATER Barney Miller HISSES from the carrier at the Maltese, now on Korsaks lap. Jane DRIVES. KORSAK What should we call her? P.W. P-whipped? JANE KORSAK

Jane smiles innocently.

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JANE Police Woman. KORSAK Suzanne or Pepper? JANE Blech. Neither. Joe Friday. KORSAK Jo like Josephine? JANE Did you even go on vacation? KORSAK Sort of. I fostered a litter of German Shepherd pups. Cagney and Lacey got adopted by this nice lady. Wanted Crocket and Tubbs to stay together, but they got good homes. Still have Kojak. Vince Mackey needs open heart surgery -JANE Okay, okay. Were supposed to be on a stake-out. INT. KORSAKS CAR / EXT. STONYBROOK RESERVATION - NIGHT Jane and Korsak sit in the car, hidden in trees and brush. Barney Miller, in his carrier, is on Korsaks lap. JANE (to radio) Frost, you see anything? Negative. FROST (V.O.)

Jo Friday JUMPS UP and LICKS Korsaks face. He pushes her off. Makes a KISSING SOUND at the cat. Cat HISSES. JANE Why do we always want the ones who dont want us? Rizzoli points to Jo Friday, whos waging her tail. JANE (CONT'D) Jo Friday loves you. KORSAK Too easy. I gotta pee.

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JANE Got to be kidding me. KORSAK You want me to do it here? JANE Ill cover for you. EXT. STONYBROOK RESERVATION - LATER Jane waits, irritated. She SCANS for Korsak, sighs. JANE Later that same day -Korsak? KORSAK (O.S.) Gimme a minute. It got more complicated. T.M.I. Huh? JANE KORSAK (O.S.)

JANE Too much information. She sits down, her gun out. SUDDENLY, theres MOVEMENT in the trees. Shes instantly on alert, gun ready -Korsak? JANE (CONT'D)

No answer. MORE MOVEMENT. Jane starts to RUN as a FIGURE in head-to-toe black and night goggles SPRINTS away. Jane CHASES the fleeing figure. Branches SLAP her face. JANE (CONT'D) Freeze! Police. I will shoot you. MAN Jane, dont. The man stops. Removes his night goggles. Its Dean. JANE What the hell? AGENT DEAN I was chasing someone.

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JANE Bullshit. I was chasing you! AGENT DEAN You think Im the Apprentice? Frost APPEARS from behind, out of breath from running. FROST Couldnt raise you on the radio. Jane is still unsure of Dean. JANE How did you know we were here? A MOAN interrupts them. Jane MAGLIGHTS the trees, follows the noise. Her light SWEEPS OVER Korsak, BLEEDING from a slashwound to his throat. Vince! JANE (CONT'D)

FROST (on radio) Officer down! Jane puts pressure on the bleeding wound. Korsaks eyes find hers. He seems to be trying to tell her something. JANE Shhh. Youre gonna be okay. He tries to move, FLICKS his eyes to the trees. JANE (CONT'D) Frost - I think somethings over there. Frost SHINES his MAGLIGHT: a naked woman MOVES. JANE (CONT'D) Get another ambulance: its Karenna Ghent.

END OF ACT THREE

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ACT FOUR INT. BOSTON HOSPITAL - NIGHT Jane paces in a corridor as Maura WALKS up. MAURA Hows he doing? JANE Still in surgery. MAURA And the victim? Dean walks toward them from the other end of the hallway. AGENT DEAN Sedated. Were waiting to talk to her. JANE Im waiting to talk to her. Far as Im concerned, youre a suspect. Maura puts a hand on Jane, MOVES her away from Dean. MAURA Jane, hed be covered with blood if hed stabbed Korsak. Maybe. JANE

ON DEAN, right behind them. AGENT DEAN Oh, come on. Lets get coffee. Clear this up. Okay. MAURA

JANE Im gonna go do paperwork. MAURA Cmon, Jane. JANE Rain check, not tonight. She walks away. Maura BREAKS FREE from Dean, CATCHES UP.

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MAURA The hell with coffee. Lets go drink. Jane GRINS. INT. BAR - NIGHT They split a bottle of nice red wine at a tall table by themselves. Jane pours it into Mauras glass. JANE First guy who broke my heart was Susan Smart in third grade. Maura smiles. JANE (CONT'D) We played every day. Usually at her house because her parents were divorced and her mother worked. We got away with murder. MAURA What did you do? JANE Tried on her mothers clothes. Clunked around in her shoes. We had this game: wed steal eggs and toss them back and forth. And we baked mud pies -- I mean, in the oven. Couldnt get away with that stuff at my house. MAURA So what happened, Susan cheated on you? JANE Howd you know? Threw me over for Becky Zeppy. I was crushed. MAURA I didnt have girlfriends. JANE None? You were a Boys Girl? MAURA No. I was so weird, I was happy with books and my chemistry set. JANE Did you kill small animals?

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MAURA I dont think so. (off Janes smile) Okay, I loved dissecting dead ones. JANE You are really weird. MAURA Yes, I am. Thats why you love me. Jane NOTICES TWO MEN, staring at them. Jane thinks theyre just staring at Maura. JANE When did you realize you had power over men? MAURA College. What about you? Jane looks startled. I dont. JANE

MAURA How can you be such a good detective and so dumb? You think Im bad at the girl stuff -Maura POINTS at the men. They WAVE at Jane and Maura. JANE Its all Susans fault. MAURA Want to stay at my house, just until this is over? Jane lays down money, grabs her purse. LOOKS at Maura. JANE What if its never over? She stares at Maura, stricken. INT. JANES APT. - LIVING ROOM - NIGHT Jane sits on her couch, STARES into space. She holds her handgun. Jo Friday, freshly bathed, is at her feet, dogsmiling at her. Jane shows the little dog her gun -JANE I already have a best friend.

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A NOISE. The dog BARKS. Jane looks through her peephole. UNLOCKS her door, holds up the gun with both hands. Dean stands there. Jane points the gun at his chest. AGENT DEAN You cant really believe Im the Apprentice. JANE Can if I feel like it. Jo Friday jumps happily on Dean. He leans down and pets her. AGENT DEAN Hey, buddy, whats your name? JANE Can you visit Jo Friday during business hours? He looks at her until she lowers her gun. Then comes inside. AGENT DEAN Why did Hoyt go after you? JANE Dumb luck. First victim was mine. In case you hadnt noticed, Im his favorite type: female. AGENT DEAN Oh, Ive noticed. A beat between them. Jane BLUSHES. JANE You want coffee? Without waiting for an answer, Jane moves to -KITCHEN She FIRES UP an espresso machine. Dean looks around. AGENT DEAN You have a really nice place. JANE You sound surprised. (off his look) You thought I lived in my sterile little hovel with dead plants and TV dinners, didnt you? He shrugs. Yeah, he did. Jane hands him the espresso. They TRADE a smile, then walk back into --

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LIVING ROOM Theres an upright piano that he hadnt noticed before. You play? AGENT DEAN

JANE Mostly I fold laundry on it. My grandfather thought my mother married beneath her. Gave me what she didnt want so I wouldnt make the same mistake. Which I wont because Im never getting married. AGENT DEAN What happened to your hands? A beat as she decides whether to tell him. Then -JANE Hoyt is good at setting traps. FLASHBACK: A WOMAN SCREAMS as Jane, gun out, FLIES down rickety stairs into a darkened basement. A DEAD MAN and UNCONSCIOUS WOMAN on a cot. Jane RIPS the tape off her mouth as it hits her -- WOMAN didnt scream. She SEES a boombox just as WHAM! - Warren Hoyt SLAMS her to the ground with a PIPE. He stands over her, SKEWERS her hand to the ground with a scalpel. Korsak APPEARS, GUN OUT. BACK TO SCENE: JANE (CONT'D) I keep taking the bait. Just like he knows I will. AGENT DEAN So Korsak saved you. Thats why you requested a new partner? JANE No. Look, Im not Hoyts victim. Im the one who caught him, helped save that woman. AGENT DEAN Not without a great deal of damage to you. JANE So Im damaged. BAM! Hoyt drops.

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AGENT DEAN Thats not what I said. She sits on the couch. Jo Friday sits next to her. JANE Youre not wrong. AGENT DEAN Why do you feel the need to outdo every man? JANE I have to work harder just to be treated like everybody else. AGENT DEAN Youre not everybody else. She looks away. He wills her to look at him. She does. AGENT DEAN (CONT'D) You think a gun and an attitude will keep you alive? JANE Yup. That and two patrol officers outside. He SITS very close to her. AGENT DEAN I could stay... She FREEZES, desperately wanting him to stay. Not sure if thats a good idea. JANE I cant put you at risk. Of what? AGENT DEAN

She looks at him. He looks at her. RAW SEXUAL ENERGY gyrates between them. She stands, completely unnerved by him. JANE You have to go, uh, now. AGENT DEAN Okay. Good-bye, then. She waves good-bye. He walks out. She watches him go.

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INT. BULLPEN - JANES AREA - DAWN She works on her computer. No one else is in yet. Her cell rings the Sci-Fi Mom tone. She just looks at it. JANE Its 6 a.m., Ma. Give it a rest. It stops. Starts again. Jane pretends to answer it. JANE (CONT'D) Oh, hello, Mother...Youre worried about me? Thats so sweet...no, Im fine. Maura enters with two cups of coffee. Jane doesnt see her. JANE (CONT'D) Why, yes, I am in charge of a big case...You read about me in The Globe? Oh, Mom, I love you, too. Its so great to finally hear you say something nice -Maura tries to tiptoe away. Jane hears her, FLUSHES RED. JANE (CONT'D) Okay, I feel silly. Youre early. MAURA Sorry. Thought you were talking to someone. JANE My fantasy mother. I never once had a conversation with her when she wasnt doing something: peeling potatoes, washing dishes, sweeping, telling me what to do. Maura hands her a latte, sits near her. MAURA They have a button for light foam. JANE That is the best news. Cant sleep. My place has never been cleaner. I cant stop thinking about...him. MAURA Thered be something wrong with you if you werent terrified. Janes cell RINGS again. She turns it off.

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MAURA (CONT'D) Whats my ring tone? Jane BLUSHES. Then PLAYS POP Version of FUNERAL DIRGE. MAURA (CONT'D) Nice and upbeat. You tell your mom Hoyts out? JANE Good idea. Shell have me sleeping under my pink canopy bed. MAURA I always wanted a pink canopy. Jane LOOKS at Maura, SMILES. JANE I wanted a horse. You think I wanted to be a cop because I knew it would bug my mother? MAURA No. I think you wanted to be a superhero. JANE Oh, but I am, Doctor. Please dont tell me youve always wanted to dissect dead people. MAURA Okay, I wont. Jane starts to dial her phone. STOPS. Looks at Maura. JANE Is it too early to call Agent Dean? MAURA (this is hard to say) He went back to D.C. JANE What? What do you mean, back to D.C.? Isnt he out of Boston? Maura looks uncomfortable. Shakes her head no. MAURA This is a lot bigger and a lot more complicated than we thought.

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JANE Talk to me. I saw him three hours ago. When did you talk to him? MAURA Um, after that. JANE Oh. Okay, this is awkward. Heavy silence DROPS between them like a drape. JANE (CONT'D) Why did he come to your house the night I was there? MAURA He had some questions. About another case. JANE I saw him give you an envelope, with photos. What case? MAURA It involves national security. Jane puts the coffee down, STARES at Maura as though shes reevaluating their entire relationship. JANE Are you kidding me? Maura looks miserable. Jane picks up her stuff. MAURA Where are you going? Jane says nothing. Just walks away. EXT. JANES APT. - DAY She throws her suitcase into her car, looks up at her apartment. Jo Friday is whining and scratching at a window. Jane sighs and MARCHES back inside. INT. JANES APT. - HALLWAY OUTSIDE AVERYS APT. - LATER Jane holds dog food and a bed. At her feet, Jo Friday waits patiently. Avery OPENS her door and SCOOPS up the dog. JANE Youre sure?

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AVERY Positive. She can help me study Contracts, right Jo? Jo Friday BARKS happily as Jane hurries away. EXT. DULLES AIRPORT - LANDING STRIP - LATER A plane lands. CAPTS VOICE Welcome to Washington, D.C. EXT. WASHINGTON, D.C. - FBI HEADQUARTERS - DAY Jane walks up to the building, goes inside. INT. FBI HEADQUARTERS - SECURITY ENTRANCE - DAY Jane walks up to a UNIFORMED GUARD. JANE Im here to see Special Agent Gabriel Dean. INT. FBI HEADQUARTERS - SECURITY ENTRANCE - LATER Jane is fuming as Dean comes toward her. AGENT DEAN (to Guard) Its all right. JANE You sure? Maybe you should set up a perimeter around the White House -Dean steers her away from the Security Guard, leads her by the arm to the street exit. JANE (CONT'D) Im not leaving. AGENT DEAN You bring your gun? JANE At the hotel. I decided not to shoot you. But that was awhile ago. AGENT DEAN Cmon. I want you to meet someone.

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EXT. WASHINGTON, D.C. - SENATE BUILDING - DAY Establishing. INT. SENATE BUILDING - SENATOR CONWAYS OFFICE - DAY Jane and Dean sit facing SENATOR SAM CONWAY, 50s. He takes a file from a locked drawer, hands it to Jane. She opens it. CLOSE ON: photo of a bearded man in a Shalwar Kammez: a long shirt reaching his knees. Hes slumped against the wall, bloody and bound just like Dr. Yeager and Alexander Ghent. JANE Where is this? Senator Conway and Dean trade a look. SENATOR CONWAY Kabul, Afghanistan. JANE It looks like Hoyts work. AGENT DEAN Operation Enduring Freedom. Four thousand ground troops, a hundred casualties a day, fifty of them civilians. Dean hands her a bigger file. Jane looks at similar crime scenes over and over: dead men. Naked, bloodied women. JANE A war zone: its a serial killers paradise. Nobody notices if a few more die. Thats why you kept me in the dark: our killer is a soldier, isnt he? Yes. AGENT DEAN

JANE He mustve finished his tour. Came to Boston to meet up with Hoyt. But Hoyt was behind bars. SENATOR CONWAY We started investigating the Afghanistan killings two years ago. JANE I dont get it: why didnt the Hoyt killings ring alarm bells?

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AGENT DEAN They did. We couldnt find a connection. Until the bulletin for the Yeager killings came across my desk. We have prints. be in a not. We JANE the Apprentices DNA, his If hes a soldier, he has military database. And hes checked.

The two men look at each other. Dean sighs. AGENT DEAN Have you ever heard of sheep dipping? She shakes her head no. AGENT DEAN (CONT'D) Its when the C.I.A. borrows a soldier for a Black Ops mission. SENATOR CONWAY Green Berets were sheep-dipped so they could secretly train the Mujahideen in Afghanistan. Their identities were wiped from all databases. JANE So they couldnt be identified as American military. You think our Apprentice was a green beret, working for the C.I.A.? Yes. AGENT DEAN

JANE Hoyt was always crazy. But our Apprentice was an elite soldier. Maybe he stopped being able to tell the difference. We train our best men to be killers, and were surprised when they are. AGENT DEAN I hate that hes a soldier. JANE Me, too. Wait, thats the connection. What if he had other training? Hoyt enrolled at Ft.

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Stewart as a combat medic after dropping out of medical school. Could the Apprentice be a medic? AGENT DEAN Maybe. Lets go to Ft. Stewart in the morning. Cross-reference their service records. Well nail these sons-of-bitches. INT. AGENT DEANS CAR (MOVING) - DAY Dean pulls to a stop in front of Janes hotel. AGENT DEAN If you get hungry, Washington Grill makes great steaks. Jane hesitates: is he asking her out? She doesnt want to misinterpret him. She waits. He doesnt say anything. She gets out, hides her disappointment: back to Jane The Cop. JANE See you in the morning. INT. HOTEL ROOM - NIGHT Jane flops on the bed. KNOCK, KNOCK. She straightens up, looks through the peephole: its Dean. She cant help herself: she SMILES as she opens the door. AGENT DEAN I was asking you out, okay? JANE Out out? (off his nod) Didnt want to be presumptuous. So? AGENT DEAN

JANE So, yes. Just gimme a minute. He smiles as he leaves her room. INT. HOTEL ROOM - LATER Jane looks beautiful with a little make-up and a fresh shirt. Her cellphone rings: POP version of FUNERAL DIRGE. She answers it. JANE Rizzoli...Maura? Wait, what?

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INT. JANES APARTMENT - LIVING ROOM - SAME TIME (INTERCUT) Maura is in Janes apartment while UNIFORMS SWARM. Its destroyed: couch is reduced to knife slits and stuffing. Everything in smashed. MAURA Im in your apartment. Why? JANE

MAURA They got in, Jane. Im just glad you werent here. JANE Is anything missing? MAURA I cant really tell. JANE Ill catch the next plane. MAURA I have to go to my office. Ill have a uniform stay until you get here. Jane -What? JANE

MAURA Be careful. Jane HANGS up. Throws clothes and her gun into her suitcase, starts out the door. Dean is there, mid-knock. JANE I have to go. He was in my apartment. She hurries past him without a good-bye. END OF ACT FOUR

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ACT FIVE INT. TAXI / EXT. JANES APARTMENT BUILDING - NIGHT A taxi pulls PAST a parked Boston PD patrol car. CORONERS VAN BLOCKS the sidewalk and ENTRANCE to Janes building. Jane JUMPS out of the cab, grabs her suitcase. She tries to SQUEEZE past the van. Morgue Attendant 1, who was at the first crime scene, stops her. MORGUE ATTENDANT 1 Uh, Detective Rizzoli, can you I.D. the body before you go in? What body? JANE

Morgue Attendant shrugs, baffled, points to the van. MORGE ATTENDANT 1 Sorry, thought you knew. Doctor Isles said its your neighbor, uh -As he looks through paperwork -MORGUE ATTENDANT 1 Its a young female, 20s maybe -JANE Oh god -- Avery? Is it Avery? Jane JUMPS into the back of the van. She SHAKES as she UNZIPS the black body bag. INSIDE IS WARREN HOYT. HOYT Nice to see you Jane. Jane SCREAMS. The Morgue Attendant gets in behind her, locks the doors. Hoyt HOLDS UP a Taser Gun. ZZZZT! He STUNS her. Jane DROPS to the floor, WRITHES in pain. Hoyt climbs into the drivers seat, PULLS AWAY as Morgue Attendant Tasers Jane again. She blacks out as we -FADE TO BLACK. FADE UP FROM BLACK: INT. CORONERS VAN (MOVING) - DAY Jane opens her eyes. Shes tightly duct-taped: hands bound in front at her waist. Ankles and knees TAPED. She SQUIRMS like a caught fish. Van VEERS suddenly, PITCHES her into her suitcase. She FIGHTS to move her hands enough to reach it.

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EXT. FOREST - MINUTES LATER Van STOPS. INT. CORONERS VAN (STOPPED) - DAY Janes facedown. She BLINKS as the doors are THROWN OPEN. Hoyt SMILES like hes off to a ballgame. He and The Apprentice drag Jane to the lip of the van. Hoyt lowers his head so he and Jane are nose-to-nose. He RUNS THE SCALPEL along her cheek. HOYT I am so happy to finish what we started. The SCALPEL BITES into her cheek, draws blood. IN ONE FAST MOVE, she head-butts Hoyt then FLIPS to face him. In her TAPED HANDS, she CLUTCHES the gun from her suitcase. BOOM! He goes down. The Apprentice LUNGES. BOOM! He FALLS. Jane GRABS the scalpel, saws off the duct tape, JUMPS OUT. She stands over Hoyt, raises her gun. He smiles. She FIRES twice. ANGLE ON: Hoyt, smiling as he holds out his bloody palms. We match. HOYT (CONT'D)

COP CARS FLY IN. LIGHTS AND SIRENS. The cavalry has arrived. But Jane doesnt need them. Our girl has rescued herself. Maura PULLS right up to Jane, WHEELS SCREECHING. Jumps out. Jane! MAURA

Jane and Maura EMBRACE. MAURA (CONT'D) Are you okay? JANE Um...it was kind of a weird day. Agent Dean WATCHES them in the b.g. MAURA Dean was really worried. JANE Oh, so you were hoping I was out of the picture, werent you? MAURA (laughing) Wheres the fun in that?

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EXT. FOREST - LATER Two EMTs work on Hoyt. Maura, Dean and now Frost and Crowe surround Jane. An EMT wipes Janes cheek with a pad. JANE How did you find me? MAURA Actually, I called the FBI when you didnt show up. Agent Dean was able to ping your cellphone. JANE What about Avery, she okay? CROWE So okay. Wicked hot. MAURA Jo Friday is fine, too. AGENT DEAN You were right about Ft. Stewart. Dean HOLDS UP a photo of two Army buddies: Hoyt and the Apprentice. DEAN His name is John Stark. Morgue Attendants ROLL the GURNEY with the BODY BAG past them. Jane STOPS them, STARES at it. JANE Hoyt killed that prisoner so the prison would summon his Apprentice from the Coroners Office. AGENT DEAN He hid under the dead man in the body bag. Slipped right by us. Jane UNZIPS the body bag then remembers Frost is watching. JANE Might want to wait over there. But hes rock steady. He LIFTS the dead mans arm for her. JANE (CONT'D) Wow, look at you! CLOSE ON: the tattoo on his arm: 68W HCS. PHOTO of Hoyt and the Apprentice MOVES into the frame. TATTOO and SYMBOL embroidered on the uniforms MATCH: 68W HCS.

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AGENT DEAN 68W Health Care Specialists. They met during training. Jane watches EMTs lift Hoyt into the ambulance. JANE Hes like a cockroach. Shouldve squeezed off a few more rounds. A police CAR PULLS next to Jane. Its passenger is Korsak, heavily bandaged. JANE (CONT'D) Get your ass back to the hospital. KORSAK I had to make sure you were okay. JANE Im fine. Go. Now, or I wont walk Jo Friday. She gives him a faux stern look. He waves as the car pulls away. Dean clears his throat. AGENT DEAN I know I said dinner, but what about breakfast? Jane smiles, about to answer, when her cell rings -JANE (to phone) Rizzoli... (explains to Dean) Dispatcher. Jane walks away. STAY ON Dean, watching her protectively. JANE (CONT'D) (to phone) Call Crowe. Im taking the day off. Maura and Dean TALK to each other. Jane SEES this. Something HITS her heart hard. She turns back to her phone. JANE (CONT'D) Well take it. (hangs up, calls to Frost) We got a homicide in Dorchester. Jane and Frost get in Frosts car, pull away. Jane looks back. Maura is walking after the car, calling her name.

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JANE (CONT'D) Oh, brother...Stop the car, Frost. Jane gets out, WALKS OVER to Maura, who looks hurt and confused. MAURA Whatre you doing? JANE Being a petulant baby. MAURA Thats what I thought. JANE Good, getting better at this girl stuff. Jane LOOKS at Dean in the b.g. Maura FOLLOWS her look. JANE (CONT'D) This is stupid. Hes not worth it. A BEAT between them before they both BUST UP, laughing. JANE (CONT'D) Okay, yes he is. MAURA What do we do now? JANE Hell if I know. MAURA I say on three, we jump in my car and go get a massage. JANE Deal. 1-2-3. Go. INT. MAURAS CAR - CONTINUOUS They JUMP in, PEEL off like Thelma and Louise. Dean watches them. Now hes confused. They LAUGH like 7th grade girls as they drive away. FADE TO BLACK.

END OF PILOT