diff --git "a/unformated_scripts/Script_Taking Lives.txt" "b/unformated_scripts/Script_Taking Lives.txt" new file mode 100644--- /dev/null +++ "b/unformated_scripts/Script_Taking Lives.txt" @@ -0,0 +1 @@ + Taking Lives by Jon Bokenkamp based on the novel by Michael Pye previous revisions by Nicholas Kazan H. Seitz David Ayer EARLY DRAFT February 28, 2003FADE IN:INT. BUS STATION - DAYSUPERIMPOSE: 17 YEARS AGOSmall, Canadian, rural. Just the Native American CASHIERjotting down sports stats from the paper. MARTIN, 16,enters. Slight, pale and frail, new clothes, a tag stillhangs from his stiff work jacket. Martin stands in frontof the Cashier a beat. Nervously tugs an earlobe. MARTIN Sir. Sir, may I have a ticket to Montreal please? CASHIER Pardon? MARTIN I need a ticket to Montreal. CASHIER Montreal? MARTIN Yes, sir. Please. CASHIER Forty-three dollars.Martin pulls out an envelope filled with crisp twentiesand carefully counts out three. The Cashier gives Martinhis ticket and change. Points at a bus outside. TheDRIVER loading bags.INT. BUS - DAYA half dozen PASSENGERS. Martin steps aboard, takes aseat. DAN SOULSBY, Martin's age, sits next to him,offers a hand. Martin shakes. DAN Dan Soulsby. MARTIN Martin. Nice to meet you. DAN Where you heading to? MARTIN Away from here. (CONTINUED) 2.CONTINUED:Dan produces a couple beers from his pockets. OffersMartin one. MARTIN Pisswater. DAN At least it's cold pisswater. Here's to getting away.They CLINK CANS. The Driver enters the bus. Unlocks theairbrakes. Puts the bus in reverse, gives it gas.BOOM! The ENGINE throws a rod. Horrible GRINDING.Smoke wafts into the windows. The Driver KILLS theENGINE. Silence. Martin and Dan trade looks. DAN That was bad. (bummed) It's gonna take all day to get another bus here.Martin sighs, looks out the window.WHAT MARTIN SEESA car rental place.BACK TO SCENEMartin fingers the envelope of cash in his pocket. MARTIN You have a license? DAN Had one. They took it away. MARTIN I got one. Let's go.INT. RENTAL CAR - MOVING - NIGHTDan drives. JOURNEY ON the RADIO. Martin checks outDan's guitar. Dan shows Martin his teeth. DAN See that? They're all fake. (CONTINUED) 3.CONTINUED: MARTIN You take a hockey puck in the face? DAN A fist. My stepdad socked me. I flew across the room and dented the sheetrock in the kitchen. My mom saw everything and still took his side. MARTIN You got cracked good. DAN I hate that guy. Two hundred pounds of worthless grease. MARTIN Why'd he hit you? DAN I wrecked his sixty-five Mustang and his boat in the same week. His babies. I totaled them. MARTIN I would have popped you too. DAN It was worth it. But I didn't deserve the tour in hell.Dan rubs his close-cropped hair. DAN Don't ever go to military school if you can help it. It sucks. (a beat) I jumped the wall two days ago. MARTIN You going back? DAN I'm done with that racket. I'm going to Seattle and playing music.Martin tries the guitar, he's not that good. MARTIN I know some chords. DAN Think you can learn drums? 4.INT. RENTAL CAR - MOVING - DAYThe land rolls endlessly. Martin drives. Dan plays hisguitar. He's really good. DAN I'm the next Billy Squire. Krokus will be opening for me one day.POW! The CAR HITS a BOTTLE. A front tire deflates.Martin guides the crippled vehicle to the curb.EXT. HIGHWAY - DAYThe middle of nowhere. Martin flips a coin. Heads. DAN Shit.Dan hauls the spare from the trunk. Sets the jack underthe bumper.A PICKUP TRUCK approaches. Still a mile away.Martin watches Dan lean in the trunk for the tire iron.The pickup gets closer, a big one. Heavy with bags ofanimal feed. Speeding.Martin looking at Dan's back. Martin shoves Dan hard,into the highway. In front of:THE GRILL OF THE PICKUPWHAM! It plasters Dan. He goes over the hood, SHATTERSthe front WINDSHIELD. Bounces off, spins like a rag dollinto a ditch.The pickup has lost control, it rolls. Several times, aheaving mass of steel.CRASH! The TRUCK folds itself around a husky tree. Nosurvivors, that's clear.MARTINHe can't believe what he has just done. He takes in thecarnage, tugs at his ear.EXT. MONTREAL - DAYSUPERIMPOSE: PRESENT DAYESTABLISHING the river-bound city. Beautiful. 5.EXT. ST. LAWRENCE RIVER - DAYA large Ferry plies the unstoppable waters. Glidingtoward skyscrapers.EXT. FERRY PIER - DAYThe signs in French. Crowded with PASSENGERS waiting toboard. As more PASSENGERS pour off the just-docked ship.A WOMAN runs through the crowd. Terror etched in herface. She knocks aside several PEOPLE. Runs toward arow of restaurants. Even in her turmoil, she ispatrician, elegant.EXT. PIER-SIDE CAFE - DAYTwo BEAT COPS eat at an outdoor table. Laid back. TheWOMAN approaches them, frantic. WOMAN I just saw my dead son get off the ferry.The COPS trade looks. WOMAN Listen to me; he's been dead eighteen years. He just walked right past me.INT. MONTREAL PD OFFICE - DAYAn INSPECTOR pours the Woman tea. She has calmed down.He takes his pen, looking at her statement. WOMAN You need to open that grave. It can't be my son in there.A beat. INSPECTOR I lost my mother two years ago. Every day I think I see her. Driving to work in the car next to me. At mass. Shopping, I see her, but this is someone else's mother. You see?The Woman lays a hand on his arm, looks him in the eye.There is something formidable about her. (CONTINUED) 6.CONTINUED: WOMAN Inspector, I'm saddened by your loss and touched by loyalty. But let's focus on the matter at hand. He walked right past me. We made eye contact. I know he recognized me. It was my son. A mother knows these things. I will sign anything, I will swear before a judge. And thank you, I do have all my faculties and friends who can vouch for my character. INSPECTOR Did you talk to this man, he is a man now? WOMAN Yes. Of course he's a man. He'd be thirty-two. And no, I did not speak with him. I ran. (low, serious) Inspector, my son was very, very disturbed. He had serious emotional problems. I assure you he was. (a beat) Is. Is a dangerous person.He hands her some forms. INSPECTOR Madame. The police department cannot resolve your problem. You need to get permits from the coroner and health and safety department. You pay for an exhumation. You have someone qualified examine the remains. If it is the wrong body, the Forensic Examiner will confirm there is a problem and call us. Then we open an investigation. (a beat) No, Quebec City police will investigate. He is buried there, no?The Woman bristles. Stands, takes the forms. WOMAN No. Inspector. He is not. 7.EXT. FOREST CONSTRUCTION SITE - DAYDeep woods. In the mountains. Near a roaring river. Alog vacation cabin is being erected by CONSTRUCTIONWORKERS.A BACK HOE digs a trench. The scoop snags something -- awetsuit -- worn by a long dead corpse, twirling slowly,hanging from the bucket's steel teeth. The BACK HOEOPERATOR jumps off the huge machine, stares at theheadless body he has just dragged from its grave.Workers gather and gawk. WORKER Someone call the cops. CUT TO:INT. TASK FORCE ROOM - NIGHTINSPECTOR LAVAL and INSPECTOR REYNAUD, rock solid FrenchCanadians, pin photographs of the body we just saw on thewall. Laval steps back. Takes in the display. INSPECTOR LAVAL (subtitled French) Think she will like this?Reynaud shrugs. Laval tosses him a Newsweek. INSPECTOR LAVAL (subtitled French) We are lucky the FBI is sending her. She is the Michael Jordan of criminal profiling. (off Reynaud's look) The Guy Le Fleuer of profiling. She will save our ass.The PHONE RINGS. Laval answers. INSPECTOR LAVAL (subtitled French) Inspector Laval. (a beat) Have the airline check again. Look around baggage claim. (to Reynaud) She was on the flight but they can't find her.Reynaud's CELL RINGS. (CONTINUED) 8.CONTINUED: INSPECTOR REYNAUD (into phone) Oui?Reynaud grabs his coat. Turns to Laval. INSPECTOR REYNAUD (subtitled French) I know where she is. CUT TO:DARKNESSWe hear BREATHING and the SOFT RUSH of a RIVER. Soft,rhythmic. Then FOOTSTEPS.Two eyes open, reflect moonlight. The FOOTSTEPS drawingcloser.CLICK! A FLASHLIGHT turns on. REVEALING:EXT. FOREST CONSTRUCTION SITE - NIGHTGRACE VANDERHOLT lies in the grave where the body wasdiscovered. It has been excavated by criminologists, thesoil sifted, the grass and brush removed. Grace sits up.Grace holds out her FBI creds, shielding her eyes fromthe bright light. GRACE It's okay, I'm supposed to be here.CLICK. The LIGHT goes off. REVEALING Laval and Reynaud. INSPECTOR LAVAL Agent Vanderholt, we requested your help. I'm Inspector Laval, this is Inspector Reynaud. GRACE Hi. Look, I'm not ready to talk to you guys yet. I need a little more time here.Reynaud and Laval trade looks, walk toward two UNIFORMSguarding the site. (CONTINUED) 9.CONTINUED:Grace lays back down. Sighs. Concentrates on thesounds. The RIVER. WIND in the trees. Then: LAUGHTER(O.S.). GRACE Would you mind trading one liners somewhere else? I need to hear the natural sounds. I appreciate it.The policemen have gathered in a chummy knot. Lavalgestures for them to walk down the road.ON GRACEShe steps out of the grave. Sits by it. Writes somenotes. Everything glistens in the moonlight, alive.Grace takes it in for a beat.Then: HOWLING, the lonely song of a distant WOLF.Grace rises, crosses to the river, to a big gravel bar.Used as a campsite complete with a large fire pit. Gracesits by the fire pit.More HOWLING, CLOSER this time.Grace looks down river, SEES the glowing eyes of a TIMBERWOLF staring from a clump of trees. The animal stares abeat, then runs off. Grace has the chills.Grace walks quietly toward the trees. Grace just a fewfeet away. RUSTLING. She cautiously moves aside asapling.EXT. RIVERBANK - GRACE'S FLASHLIGHT - NIGHTA TIMBER WOLF nestled amidst the trees gnaws onsomething; a HUMAN HEAD.EXT. RIVERBANK - NIGHTGrace stands there alone, the wolf is long gone. Shestoops, pushes aside brush. She finds a hollow undersome roots. Grace CLICKS on her FLASHLIGHT.WHAT SHE SEESA human skull stares up from the hollow. Picked clean,weathered. 10.EXT. DIRT ROAD IN THE FOREST - NIGHTLaval and Reynaud, and the two UNIFORMS smoke and joke.A quiet beat as the WIND picks up. Their cars up theroad in the b.g.SOMETHING MOVES in the woods. Inspector Reynaud drawshis Glock. SHUSHES the men.A beat. MOVEMENT. Laval signals for the men to spreadout. Holsters are UNSNAPPED. Reynaud is all eyes andears as he picks his way toward the trees.GRACE emerges from the trees, a laser-aiming dot on herforehead. She REACTS to Reynaud, raises her hands. GRACE Don't shoot, I'm on your team.Reynaud holsters his gun. The men relax. Grace takesInspector Laval aside. GRACE Call who you have to call. I found his head.Laval REACTS.INT. AUTOPSY ROOM - DAYGloved hands carefully remove the skull from a box. TheMEDICAL EXAMINER places the skull on an exam table andbegins cleaning it.Grace walks around the headless body. The wetsuit hasbeen removed, the body has been autopsied. Headless,skeletal hands, the legs are surprisingly well-preserved.DIRECTOR GILLET is tall, heavy, smoking a cigar. He's acop's cop and all-around nice guy. DIRECTOR GILLET I can't tell you how excited we are to have you here. GRACE You only have one victim. Usually there's two or three by the time I get called in. DIRECTOR GILLET This case made page one of the Globe. The tabloids say there is a headhunter on the loose. (MORE) (CONTINUED) 11.CONTINUED: DIRECTOR GILLET (CONT'D) The Mayor wants closure. That's his vacation house they were building. I get calls from supervisors I didn't know I had. GRACE You clear the Mayor? DIRECTOR GILLET We cleared the Mayor. He read the article on you in Newsweek and insisted we fly you up. The papers say two campers had a drunken fight and the loser lost his head. GRACE What do you think? DIRECTOR GILLET I don't solve crimes anymore, I balance budgets. GRACE This was not a heat of the moment killing. And the victim was buried complete with head. The grave was five-foot ten. The victim's height. With square corners. Dug with a shovel the killer had the foresight to bring. DIRECTOR GILLET Thirty-five detectives searched the area Saturday. My investigators think you're a witch. GRACE I've been called worse.The Medical Examiner finds two small holes in the skull,waves the PHOTOGRAPHER over. DIRECTOR GILLET Jeez. Look at that, looks like he got ice-picked.She simulates fangs with her hands, they match marks onthe skull. (CONTINUED) 12.CONTINUED: GRACE No. A large canine did that. Probably an old or sick timber wolf that couldn't hunt. It dug up the body and chewed off the head. It felt safe in the trees, away from the riverbank, away from the other wolves.The Medical examiner looks at a chewed vertebrate. MEDICAL EXAMINER I'd say you're right. (into tape recorder) Postmortem scavenger damage to C-1.The Medical Examiner examines the skull's teeth. MEDICAL EXAMINER The victim was afraid of dentists. Bad teeth.Inspectors Laval and Reynaud enter. Both give Grace warynods. Inspector Laval hands the Medical Examiner a paperbag marked HUMAN REMAINS. INSPECTOR LAVAL This was a meter from the skull. At soil level.The Medical Examiner opens the bag. Removes a wig. No,not a wig; someone's ponytail and leathered scalp.Tangled with the hair is a braid of green nylon cord tiedto two pieces of broomstick. The Photographer SNAPS someshots.The Medical Examiner gingerly untangles the cord. MEDICAL EXAMINER Look at this.Grace crosses, grins. Grace studies the cord, noting theintricate knots. GRACE Bingo. That's your murder weapon. INSPECTOR LAVAL It might be trash a camper left. (CONTINUED) 13.CONTINUED: GRACE No. Look at it, braided parachute cord, two pieces of broom stick. You approach the victim from behind, loop it around his head and hold on for all your might. The more the victim struggles, the quicker he passes out. And now you have convenient handles to drag around two hundred pounds of dead kayaker. INSPECTOR LAVAL That is a theory. GRACE That's exactly what it is. A theory. That evidence supports. When the suspect is in custody you can ask him yourself what happened and you won't need me. Inspector.Laval bristles, he crosses to check his cell messages.Gillet looks at Grace, at the cord. Turns to herquietly. DIRECTOR GILLET Laval and Reynaud are my stars. Very smart, very persistent investigators. On the street; they're magnificent. GRACE I can see that Director. You're lucky to have them.A beat. GRACE Go ahead, Director, say what you have to say. DIRECTOR GILLET You're the expert. If you have any suggestions on how to proceed... GRACE Sure. A forensic anthropologist can draw the victim's face based on the skull. I know someone at Quantico who can do it by tomorrow. (CONTINUED) 14.CONTINUED: DIRECTOR GILLET We have people. GRACE Call 'em. Then show the results to everybody around who was selling outdoor goods two years ago. You have his initials; MRC, inside the wetsuit. The long hair is distinctive, someone may recognize him. It's a semi-long shot. DIRECTOR GILLET No, that's bread and butter detective work. Thank you. (checks his watch) We should get upstairs.They cross to the exit. Director Gillet barks orders inFRENCH at his two-star Inspectors.INT. TASK FORCE ROOM - DAYPhotos, maps, newspaper articles cover the walls.Twenty-four Hour News ON a TV. Six DETECTIVES man thephones. ROOKIES fetch reports, pour coffee.INT. CONFERENCE ROOM - DAYThe long table is crowded. Inspectors Laval and Reynaud.Three more POLICE OFFICIALS. A pair of CITY COUNCILMEN.Grace sits next to Gillet. COUNCILMAN #1 You found the skull. Incredible. GRACE I had a case once where wild dogs had removed remains. COUNCILMAN #2 So I can tell my people there isn't a headhunter running around the wilds of Quebec? GRACE No headhunters, sir. However, a killer is out there. (CONTINUED) 15.CONTINUED: COUNCILMAN #1 Director Gillet. Do you have the victim identified? DIRECTOR GILLET No name yet, sir. We have someone from the University recreating his face from the skull. COUNCILMAN #1 Why, after two years, has nobody reported him missing? GRACE He wasn't missed. He had no family, or moved often. He had the musculature of a serious outdoorsman. He spent a lot of time in his kayak. COUNCILMAN #1 The big question is who killed him. GRACE Always is, sir. I can give you a rough profile; white male, thirty to thirty-four. Has some college but no degree. Neat in appearance. At least six feet tall. Very intelligent. Charming when necessary. He uses murder as a tool, probably in furtherance of a criminal endeavor. He's killed before and will again unless caught.Laval and Reynaud write furiously. Gillet is impressed.As are the Councilmen. COUNCILMAN #1 We really appreciate the FBI sending you. When can we expect your report? GRACE A couple days, sir.INT. TASK FORCE ROOM - DAY (LATER)Grace writes notes on a yellow pad. Inspectors Laval andReynaud cross, Laval shows her an artist's sketch of thevictim. (CONTINUED) 16.CONTINUED: INSPECTOR LAVAL Say hello to a dead man.INSERT SKETCH: The victim has a deep stare, ruggedfeatures, long hair. GRACE Shame. Good-looking guy. INSPECTOR LAVAL This is more than we had. Thank you.Laval has declared peace. Grace smiles. Reynaud stillkeeps his distance.INT. HOTEL ROOM - NIGHTA very nice bed and breakfast. Grace enters and findsher luggage waiting. She loves the room. Antiques, art.Grace finds a bottle of wine and a note from Gillet. Shesmiles. Grace checks the mini fridge; bingo. Cracks aMoosehead. Her CELL RINGS. GRACE (into phone) Vanderholt? INSPECTOR LAVAL (V.O.) (filtered) We named the victim; Curtis Kohler. The forensic dentist just verified the ID. GRACE With a C? INSPECTOR LAVAL (V.O.) (filtered) No. K-O-H-L-E-R. The initials are for the Montreal River Company. Kohler worked there as a guide three years ago. The owner remembers him because he stole the wetsuit. GRACE Can you do a full records search? Criminal, credit, commercial history. Transcripts. Everything. (CONTINUED) 17.CONTINUED: INSPECTOR LAVAL (V.O.) (filtered) Yes, of course. GRACE You're an awesome investigator, Inspector. Run his name on every database you can. I'll see you in the morning.Grace hangs up. Makes notes on the sketch. Slips itinto a picture frame.INT. TASK FORCE ROOM - DAYGrace, Reynaud and Laval look through a haystack ofcomputer printouts for needles of information. Gracestretches. Grabs a donut from a box. Offers the box toLaval. GRACE Fruit of the Gods. You know you want one.Laval gives in, takes a plain cake. She offers donuts toReynaud. He rubs his eyes, shoves aside papers, quietlyto Laval: INSPECTOR REYNAUD (subtitled French) Let's take her down the street. I will not eat one of those hockey pucks. INSPECTOR LAVAL Let's go down the street. Very good food. We are inviting you. Please.Grace grabs her jacket and an armful of reports.INT. BISTRO - DAYLocals only. The Inspector's favorite spot, they arelike family here. Grace, Laval and Reynaud at a table inback. Covered with reports and plates. Grace stopsreading. Tosses aside a printout. GRACE Mr. Kohler has been dead two years. No doubt about that. Right? (CONTINUED) 18.CONTINUED: INSPECTOR LAVAL Very solid time of death. Two years ago. GRACE So before he died he got his paychecks, paid his taxes. Patronized sporting goods stores. And had long spending gaps where he was enjoying the great outdoors. That pattern continues a year after his death. He gets some paychecks. Rents an apartment. Buys a three thousand dollar kayak. Pays his taxes. Dead and buried and still paying his taxes. Then everything stops. Last Visa charge was to Travelocity for a plane ticket to Mexico city. INSPECTOR LAVAL Dead men don't pay their bills. It's identity theft. GRACE This isn't someone renting limos and fancy dinners on someone else's credit. Lifestyle and habits don't change. INSPECTOR LAVAL Computer error? GRACE Too many independent systems. INSPECTOR LAVAL (beat) We work organized crime sometimes, maybe a hit man wanted to lay low. He assumed the life of a civilian until things cooled off. GRACE You really think a gangster is going to break his stride and become a long hair groovy river guide? Inspector, this guy's whole life has been stolen. Someone killed him and became him. Down to profession and taste in clothing.Laval and Reynaud trade looks. 19.INT. HOTEL ROOM - NIGHT (HOURS LATER)The lights are still on, Grace has fallen asleep on herbed, still in her clothes, paperwork everywhere. Casephotos now fill the picture frames, cover the walls, evenon the ceiling. KNOCKING at the door. Grace stirs.Crosses to the door, groggy. She checks the peephole.Cracks the door. It's Inspector Laval. INSPECTOR LAVAL You are a heavy sleeper. GRACE You're everywhere. What's up, Laval? INSPECTOR LAVAL A man was killed tonight. Attacked from behind. Asphyxiated with a nylon cord with handles. And there's a witness. Or a suspect. We're not sure yet. We should go.EXT. PARKING LOT CRIME SCENE (DOWNTOWN MONTREAL) -NIGHT (4:00 AM)Cop cars everywhere. Crime scene tape. The Coroner'svan. A couple NEWS CAMERAMEN. Grace crossing withLaval.Reynaud places a HANDCUFFED MAN in workout gear in theback of a cop car. INSPECTOR LAVAL That's him. He says he saw the killer.Reynaud SLAPS the cop car, it quickly drives away. Graceand Laval arrive at a BODY dressed in sweats. A gym bagnearby. A pair of UNIFORMS stand guard as a CRIMINALISTprocesses the body. Thirty-ish, healthy, his genericlooks marred by bulging, bruised eyes. Face bruised. INSPECTOR LAVAL Meet Mr. Todd Ford.Grace squats by the body. CLICKS on her Mag-Lite andinspects the victim. Bruises on his neck. GRACE He's still warm. (CONTINUED) 20.CONTINUED:Grace shines her flashlight along the corpse. A couplehairs glow in the strong light beam. GRACE Want to get those?The Criminalist takes a lint roller, collects the hairs. GRACE Where is it? INSPECTOR LAVAL There. Under his car.Grace shines her light under a car. A garrote is there,made of broomsticks and knotted nylon cord. GRACE Holy shit. Has Le Directeur been notified? INSPECTOR LAVAL I'm letting the poor man sleep a couple more minutes. (pointing things out) Twenty-four hour gym is there, next door. He has a membership card in his wallet. That's his car. Car keys.Grace looks around the garage. Taking it all in.Getting a feel for the scene.She carefully examines the victim's car with herflashlight. The door has been brushed with black printdust.INT. INSPECTOR'S OFFICES - NIGHT (4:43 AM)Director Gillet sips bad coffee in a rumpled suit and T-shirt. Looking through a two-way mirror. Grace, Reynaudare with him. DIRECTOR GILLET Is that our killer? GRACE Maybe. So far he checks out as an art dealer from Winnipeg. 21.INT. INTERVIEW ROOM - NIGHTJOHN COSTA, 33, sits at the small table. Glasses,moppish hair. Laval sits across from him. Costa issincere, and frightened. COSTA I walk out of the gym. Walk to my car. I'm unlocking it and I hear a scuffle, a fight. Over by this car I see this guy getting choked from behind and I shouted. INSPECTOR LAVAL What did you shout? COSTA 'Stop.' I ran towards them. Then the person doing the choking lets go and pointed a gun at me and ran. I'm so stupid. I could of been shot. I called the police gave him CPR until the paramedics came. INSPECTOR LAVAL You touched him? COSTA Of course. I was giving him CPR. INSPECTOR LAVAL You removed the Garrote? COSTA The thing around his neck? Yes. I took it off, it was choking him. INSPECTOR LAVAL Did you see where the attacker went? COSTA Away from me. INSPECTOR LAVAL What kind of gun did he have? COSTA (frustrated) The kind that puts really big holes in people. INSPECTOR LAVAL Was it black? Was it silver? (CONTINUED) 22.CONTINUED: COSTA Black. INSPECTOR LAVAL Okay, see? I am getting information. He had a large black handgun. COSTA Listen to me. I can draw a picture of his face. I saw him. INSPECTOR LAVAL You want to draw a picture? COSTA A sketch. I can sketch him. I'm very good. INSPECTOR LAVAL How could you see his face in the dark?A beat. Costa realizing he is under suspicion. He leansforward, looks Inspector Laval in the eye. COSTA I did not do this. I saw two guys fighting and should of ran the other way but I didn't. (as if to a child) You need to find the person who killed this man. (in French) You need to find the guy who did this.INT. INSPECTOR'S OFFICES - NIGHTGrace doesn't like the turn. GRACE You need to confirm he's a suspect or clear him and kick-start a manhunt based on Costa's ID. If he is a legit witness, he'll get heated up and start forgetting details. I think there's a way to clear him without pissing him off. May I? DIRECTOR GILLET Please. (CONTINUED) 23.CONTINUED:Grace KNOCKS on the Interview room door. GRACE Inspector. I need a moment with you.Laval exits the room, shutting the door behind them. AROOKIE hands Director Gillet a cup of coffee and a newdress shirt wrapped in plastic. INSPECTOR LAVAL I was getting into his mind. GRACE I have a shortcut. Can you get any of his school transcripts? INSPECTOR LAVAL Sure. It's all on-line.Grace takes an evidence bag containing the garrote fromthe latest crime scene. She drops it in her computerbag.Grabs a case file. GRACE Call the Winnipeg Police and have them fax or e-mail his driver's license photo.Grace crosses, opens the door, enters.INT. INTERROGATION ROOM - NIGHTJohn Costa smiles at Grace as she enters. Sets her bagon the floor. The case file on the desk. COSTA I hope you guys are playing bad cop smart cop. GRACE Sorry. I'm the dumb one. Agent Vanderholt. Call me Grace.They shake. She slides typing paper and a pencil over toCosta. COSTA Thank you. He had these real intense eyes. (CONTINUED) 24.CONTINUED:Costa about to start drawing. GRACE Hold on. Before you do that, I need some personal information from you. Can you write down the name of the elementary school you attended? And your elementary school teachers, as many as you can remember.Costa looking at Grace a beat. COSTA Are you kidding me? Lady, I saw someone get killed tonight and you're asking me about grade school? GRACE I apologize, I know it's random, but it's the best way you can help me. COSTA I don't remember any of that. GRACE Please, Mr. Costa. You'd be surprised. COSTA (writing) I attended two. Holy Trinity and Mother of Good Counsel. I remember Sister Bernard. And. I don't know, Father Jeffrey. Mr. Johansen. Oh, and Mrs. Sebastien, she had a glass eye. GRACE May I?She takes the list of names. She tips over her briefcasewith her foot, the evidence bag spills out. Costaglances at the garrote, REACTS. COSTA Omigod. That's it, isn't it? GRACE That's what? (CONTINUED) 25.CONTINUED: COSTA The thing around his neck.Costa looking at Grace, realizes it's a mind game. COSTA I told the other guy, I'll tell you. I did not do this. Grace. I saw who did this and I can show you what he looks like and you can go catch him.Costa is unambiguously sincere. Grace's attitude softensa bit. She tucks the garrote back in her bag. GRACE Go ahead and draw the face of the man you saw.Costa draws a simple smiley face. He shows her. GRACE We'll get an artist to help you. COSTA I can draw him, thank you.Grace crosses to the door. Costa begins drawing inearnest.INT. INSPECTOR'S OFFICES - NIGHTGrace emerges from the interrogation room. Reynaud handsher a printout of Costa's school records. Grace checkingCosta's list against his transcripts. INSPECTOR LAVAL You left a file in there. GRACE I know. See if he tries to peek in it. The real killer couldn't resist. He'll want to know what we know.Laval watches Costa.INT. INTERROGATION ROOM - NIGHTCosta draws with skilled hands, delicate but strong. Thefile is ignored. 26.INT. INSPECTOR'S OFFICES - NIGHTGrace hands Laval back Costa's file. GRACE Can you remember any of your grade school teachers? He remembered three.A Rookie crosses with a photo, hands it to Laval. INSPECTOR LAVAL Here's his provincial driver's license photo. He's checking out.Laval shows Grace the photo. It is definitely Costa. Abeat. GRACE Have a nurse take a DNA sample. Just to make sure his DNA isn't in the victim's car or anything weird. INSPECTOR LAVAL We'll run the tests.INT. INTERROGATION ROOM - NIGHTCosta has finished the sketch. He holds it up to themirror, for those he assumes are watching.REFLECTED in the two-way mirror is COSTA'S SKETCH. Coldpiercing eyes, chiseled features.The door opens, expecting Grace, Costa is disappointed tosee a tough-looking PARAMEDIC unwrapping a cotton swab. PARAMEDIC Please open your mouth.INT. PATROL CAR - MOVING - DAY (7:08 AM)THE SKETCH is taped to the dashboard, now labeled:UNKNOWN ASSAILANT. The cops cruise the businessdistrict, eyeballing the arriving OFFICE WORKERS.EXT. COFFEE STAND (MONTREAL) - DAYGRACE slams an espresso shot as she reads the Globe.INSERT HEADLINE: MONTREAL MAN MURDERED OUTSIDE GYM. 27.INT. MEDICAL EXAMINER'S OFFICE - DAYThis is his personal space, tons of hockey paraphernalia.A couple tired easy chairs. The Medical Examiner eats aslice of pizza. Grace studies an evidence bag containinga man's ring. MEDICAL EXAMINER Fell out of his T-shirt when I removed the clothing. It doesn't fit the victim. GRACE (off the ring) WVSS. 1995. What's that? MEDICAL EXAMINER West Vancouver Secondary School Class of '95. GRACE CWE? Whose initials? Not the victim's. MEDICAL EXAMINER No. I called the school and had someone find them in a yearbook. Here's the original owner's name. But it could have been through a dozen pawn shops since then.He hands her a piece of paper. Grace has a big smile. GRACE Doctor, can I take you back to Quantico with me? MEDICAL EXAMINER Sorry. I must remain where the hockey is good.Grace hands the paper to Reynaud.EXT. MEDICAL EXAMINER'S OFFICES - DAYReynaud and Grace crossing through the parking lot. INSPECTOR REYNAUD (into radio, subtitled French) This is Special Unit Fourteen. I want a complete name search. Clark William. Surname is Edwards. (CONTINUED) 28.CONTINUED: GRACE Inspector Reynaud. Can we swing by the crime scene before we head back?Reynaud nods: yes. They get in his unmarked car.EXT. PARKING LOT CRIME SCENE - DAYTape still up. The 24 Hour gym is closed for the day.Grace looking around. Laval studies a shrine of candleson the sidewalk.Grace sneaks up on him. She gets real close. Lavalwatches the candles burn. GRACE Inspector.Laval startles. GRACE C'mere a second, please.They cross to the victim's car. GRACE Borrow your keys? Stand there like you're going to choke me.Grace pantomimes unlocking the door, drops the keys andreaches for her throat. GRACE Keys drop straight down, how'd they end up over there under that car? INSPECTOR LAVAL They were kicked. During the struggle. GRACE (points) Okay. Kick them as hard as you can that way.Laval looks at her, kicks his keys. GRACE Not even halfway. (CONTINUED) 29.CONTINUED:Grace crosses to the candles. Laval follows. GRACE I had this case. This young hundred-pound woman was abducted from a parking lot. She kicked off a mirror, broke a window, dented her door. She struggled. This guy? Nothing. INSPECTOR LAVAL Everything you are saying, you are saying one thing, do we trust Costa? GRACE Good question. Do we trust Costa?An unmarked car pulls up. Reynaud drives. INSPECTOR REYNAUD Get in.INT. UNMARKED CAR - MOVING - DAYGrace and Laval get in, Reynaud guns it. Grace belts in. INSPECTOR REYNAUD I found a current address here in Montreal.Reynaud leans on the HORN, aggressively maneuveringthrough traffic. GRACE You guys have an extra weapon? I didn't want to cross the border armed. INSPECTOR REYNAUD The glove box.Grace opens it and finds a compact Glock. She checks it,shoves it into her pocket.Reynaud swerves into the wrong lane. Stops cold in frontof an apartment building. And gets out. Great driving.A mere two blocks away from the crime scene. Laval getsout. Then Grace. 30.INT. APARTMENT BUILDING - HALLWAY - DAYAn upper floor. Grace, Reynaud and the MANAGER cross toa door. The Manager studies Costa's sketch of theattacker. SUPER I never met him. We conducted our business by phone.They arrive at a door. Reynaud about to knock. Gracestops him, listening at the door. GRACE I smell smoke. Back where I'm from anyone can kick a door if there's a fire. It's the 'citizen's arrest' of search warrants.Then: The SMOKE ALARM inside the apartment BUZZES O.S.Reynaud and Laval trade looks. Reynaud cocks a leg...The Manager unlocks the door a beat before Reynaud kicksit. Laval is no danger junkie, he's a little hesitant toenter. Grace gets down low, enters carefully, she knowswhat she's doing.INT. APARTMENT - DAYIt's dark, drawn shades. A small studio. Reynaud andGrace move tactically with drawn guns. Grace enters thekitchen. Light smoke.Reynaud approaches the futon, a person-sized shape underthe blankets. Reynaud whips aside the blanket. Justpillows.Grace checks under the sink.Reynaud checks the bathroom and shower.A coffee pot smokes, SIZZLING sludge on the bottom.Grace checks around the fridge, now satisfied no onelurks in there. GRACE Clear.Grace turns off the burner. She crosses to a window,whips aside the curtains, and opens it. Coughing. GRACE Ugh. Got a lung full. (CONTINUED) 31.CONTINUED:Grace looks at a glass of orange juice, a half-eatenplate of food on the table. GRACE Looks like this guy ran out in the middle of breakfast.Laval has entered, he stares out the window. Grace looksout the window, REACTS.WHAT GRACE SEESThe apartment window has a perfect view of the gymparking lot where the killing occurred.BACK TO SCENEReynaud sees that and also REACTS. INSPECTOR LAVAL We should get out of here. Don't touch anything.They back out of there.INT. APARTMENT - DAY (AN HOUR LATER)Grace watches a CRIMINALIST bag a comb from the medicinecabinet. A couple hairs entwined in its teeth.In the kitchen another CRIMINALIST dusts for prints.Reynaud taking pictures with a large still camera. LavalKNOCKS on the walls.Laval moves a picture frame. A photograph falls out.Laval picks it up with surgical gloves.INSERT PHOTO: A dead ringer for Costa's sketch,carousing in a Thai bar.Laval shows Grace. GRACE Resembles the man Costa sketched. (beat) Have you released him? You don't want your star witness steaming in a holding cell. (CONTINUED) 32.CONTINUED: INSPECTOR LAVAL He went home twenty minutes ago. Agent Grace, where do you think Monsieur Edwards is? GRACE I bet Monsieur Edwards is in a deep grave with square corners like Messieurs Kohler and Ford. Which looks like all the victims. Maybe he's subconsciously killing himself.Grace finds a guitar case. Opens it. It's a mobileoffice; it has postage stamps. Postcards. Assortedstationery, different address labels. Neat, organized.Holiday cards. A CD titled: "Learn Flamenco Guitar."Hundreds of practice signatures. Forged documents.Victim's personal effects. INSPECTOR LAVAL We'll take that with us. (in French) Put a number and seal on that case.Reynaud SNAPS pictures of the guitar case.Grace is absorbing everything this little apartment cantell her. Bonding with the space. She smells a pillow.Thinking. GRACE Ever see a Hermit crab? INSPECTOR LAVAL No. GRACE It's a crab that lives in the shells of dead sea snails. INSPECTOR LAVAL Yes, yes. They have one big claw and curl up tight.Laval takes a long, sharpened screwdriver from hisjacket. Begins prying off a door molding. Grace sits atthe kitchen table. GRACE When they outgrow an old shell, they search for a new empty shell, crawl up to it and quickly switch. (MORE) (CONTINUED) 33.CONTINUED: GRACE (CONT'D) They live in these beautiful shells because they have these soft ugly bodies. They couldn't survive without the shells. Neither can the guy we're after.Laval exposes several MINI DV and MICRO-CASSETTES hiddenunder the molding.INT. CONFERENCE ROOM - CLOSE ON A TV SCREEN - DAYSurprisingly clear video shot with a long night-visionlens. TODD FORD exits the 24 Hour Gym, gets in his car.WIDEN TO:The Director, Grace, Reynaud and Laval watch the video onthe TV. Director Gillet turns it off. He is not in agood mood and that has Laval and Reynaud on edge. DIRECTOR GILLET We could have had him this morning. INSPECTOR LAVAL Director, please. We are getting close. The hairs recovered from the apartment match the hairs recovered at the crime scene on Ford's body. We found hours of video like that of the victim. He has been following him, filming him for weeks. He tapped his phone and has recordings of Ford's calls. Even a CD with copies of Mr. Ford's E-mail folders. GRACE With that much detail, you could become anyone. DIRECTOR GILLET So he hunts people and wears their lives as a kind of trophy. GRACE More like a kind of camouflage. DIRECTOR GILLET What's his real name? (CONTINUED) 34.CONTINUED: INSPECTOR LAVAL We know what he looks like, we have his fingerprints, we know what he had for breakfast. But his name eludes us still. DIRECTOR GILLET (angry) Find it, Laval. Find him. INSPECTOR LAVAL Yes, sir.Laval and Reynaud quickly exit. Grace stays.INT. HALLWAY - DAYDirector Gillet and Grace walk down the hall. GRACE They're working really hard. DIRECTOR GILLET I know. GRACE Someone died last night because the asshole we're after isn't in custody. It's happened to me before and I'm sure it will happen again. It's a pretty miserable feeling. DIRECTOR GILLET I haven't felt it in a long time. (a beat) Dinner? GRACE Thank you. I promised the boys I'd hang out tonight. I'm sorry.INT. BISTRO - NIGHTGrace, Reynaud and Laval have mussels and beer. Lavalwatches the GUITARIST, a little melancholy. INSPECTOR LAVAL I'm fair and I keep my promises. My informants trust me. I have eyes on the trains, on the buses. If they see him, they will tell me. (CONTINUED) 35.CONTINUED: INSPECTOR REYNAUD (subtitled French) Maybe they will tell you. Why do you trust junkies? INSPECTOR LAVAL (makes a fist) I trust their fear of this. INSPECTOR REYNAUD (subtitled French) Don't say that in front of her. GRACE (subtitled French) It's okay. I was a street cop in Philadelphia for three years before I joined the FBI.Grace speaks French. Reynaud REACTS. As does Laval. INSPECTOR REYNAUD Very nice. You like to play games.Grace smiles. INSPECTOR LAVAL Mr. Ford worked as a cruise-ship musician. He would walk around and play his guitar on the decks at night. GRACE Life is pretty cold sometimes. Man's just trying to spread a little music and gets murdered. INSPECTOR LAVAL He targeted Mr. Ford the night before he was supposed to get on a plane and meet a ship in Aruba. GRACE Only the new improved Mr. Ford was going to meet he ship. INSPECTOR REYNAUD Think he has a plan B? (CONTINUED) 36.CONTINUED: GRACE I doubt it. He's been so meticulous and effective in the past, I bet he's never needed one. We can assume he has all sorts of fake IDs and passports. Disguises. But that's not enough for him, he has to be someone else. He gets off impersonating people. And he knows his current persona is compromised.Laval and Reynaud have stopped eating, are looking ather. GRACE What? INSPECTOR LAVAL You're always thinking. Save something for tomorrow. We have three boxes of evidence to go through. GRACE Pretty cavalier attitude for a man who just got his ass chewed by his boss. INSPECTOR LAVAL My papa dropped dead of a heart attack in front of a drill press at work. Not me.Grace understands. Laval CLINKS her beer, Reynaud too. GRACE I'm dropping by Costa's, I still have a couple questions. (off Laval's look) I can't turn it off.EXT. ART GALLERY STREET - NIGHTA warm night, people are out. TEENS, COUPLES. Some OLDMEN argue politics. Grace approaches the gallery, keepinga low profile as she finds an angle to look inside.INT. ART GALLERY - GRACE'S POV - NIGHT (MOS)John Costa shares some Merlot with a statuesque ELEGANTWOMAN. She's laughing, flirting. Costa is making herlaugh. 37.EXT. ART GALLERY STREET - NIGHTGrace quickly crosses to the entrance.INT. ART GALLERY - GRACE'S POV - NIGHTAn OLDER MAN joins them, the woman is his arm candy.Costa shakes his hand. The Older Man and the ElegantWoman exit.INT. ART GALLERY - NIGHTGrace enters. Costa sees her, REACTS, genuinely glad tosee her. And that throws Grace a beat. She really likeshis smile. GRACE Mr. Costa. COSTA You caught me. GRACE Not yet.Grace looks over the art. COSTA Toussant Jean Bernard. I met him in Haiti last year. Very troubled life. Outlived all his children. And he had ten. He lost his wife to cancer and went blind. Passed away last year. GRACE Overpriced folk art. Is it the work of a soul that has suffered? Sure. Are his explorations as an artist groundbreaking? No. COSTA Ouch. And I was going to send you two and charge them to your Amex. GRACE I couldn't afford it.Costa is looking at her, looking through her. COSTA What about Daddy's Amex? I've sold quite a bit of art to poor little rich girls like you. (CONTINUED) 38.CONTINUED:Grace grows tense. GRACE Excuse me. COSTA Try the wine. GRACE I'm partial to beer. And I don't have long. I came by to thank you for your help. And I apologize if you were detained. You did the right thing. Trying to save him. COSTA Why, thank you. Agent Vanderholt. (gives her a card) I'm having a show Friday. You should come by and meet some good people. GRACE Who knows. Where'd you learn CPR? COSTA Medical school. Before I dropped out. I had a moment of clarity: in anatomy class I realized I'd rather draw bodies than cut them up. And when I realized I couldn't make art, I decided to sell it. GRACE Some journey. COSTA It's taken me all over the world. GRACE About Monday again, did you see Mr. Ford fighting back? COSTA At first I thought I was interrupting something, you know? GRACE No, I don't. COSTA I thought they were hugging. Then the gun came out when he saw me. (CONTINUED) 39.CONTINUED: GRACE I guess that's it. Thanks.Grace hands him a card. GRACE If you remember any details or need anything. (off his look) Anything related to the case, please call me. COSTA Okay. Think about Friday. Please, Grace?Grace will; she exits.INT. HOTEL ROOM - NIGHTGrace has turned the romantic little room into a cave ofpaperwork. Notes and photos cover the walls. Gracereads a phone bill taped to a lamp. Circles a numberthat keeps reappearing.INT. TASK FORCE ROOM - DAY (6:03 A.M.)The place is gearing up for a new day. Grace crosses towhere Laval and Reynaud struggle awake with coffee andthe morning paper. Grace takes a seat, grabs the sportssection. A YOUNG DETECTIVE eats a grapefruit. GRACE Morning. Can you run this name? She got twenty hang-up calls from Edward's phone.The Young Detective takes a Post-It from Grace andcrosses. GRACE What happened to that beautiful thumbprint on the orange juice glass, you get an ID? INSPECTOR LAVAL No hits. He's never been fingerprinted. GRACE Shit. Any activity on Edward's accounts? (CONTINUED) 40.CONTINUED: INSPECTOR LAVAL Nothing. I think he became Edwards a year ago. He was a software engineer. Did everything by the internet, he never met anyone face to face.Grace trades Reynaud for the front page. GRACE Why a year ago. INSPECTOR LAVAL Edwards went on a river trip. Kohler was a guide.Grace REACTS. Laval tosses her some papers. INSPECTOR LAVAL Those are E-mails between Kohler and Edwards discussing the trip one year ago. GRACE You connected Edwards and Kohler? Somebody was working all night. INSPECTOR LAVAL I couldn't sleep. GRACE Our suspect kills Kohler on the river, lives his life a year, kills Edwards and assumes his ID for a year. Then he stalks Ford, kills him but is interrupted by Costa. Think he's pissed at Costa? INSPECTOR LAVAL Of course.The Young Detective returns with a report, hands it toGrace. YOUNG DETECTIVE Agent Vanderholt, a report came back on the name.INT. UNMARKED CAR - MOVING - DAYLaval drives fast through a neat, modest neighborhood.Grace marveling at the police report. (CONTINUED) 41.CONTINUED: GRACE She must have sounded like a total fruitcake. INSPECTOR LAVAL This is it.Grace watching Laval. He looks pretty rough thismorning. GRACE Let me go and be non-threatening.INT. ASHER HOUSE - DAYKNOCKING on the front door. The WOMAN from the ferryanswers the door. Her name is REBECCA ASHER. She opensthe door, smiles warmly at Grace. MRS. ASHER Hi, please come in. Thank you for coming.INT. ASHER HOUSE - LIVING ROOM - DAYClassy decor. Grace sips Earl Grey. Admires theimpressive antiques. MRS. ASHER I'm glad they finally sent someone, those hang-up calls have me terrified. They started right after I saw him. (a beat) I looked him directly in the eye. There was a moment of mutual recognition. GRACE Do you think it's Martin calling and hanging up? MRS. ASHER It couldn't sound crazier, but who else? GRACE Were you ever asked to identify his body? (CONTINUED) 42.CONTINUED: MRS. ASHER The body? Yes, they showed me some remains that had been hit by a pickup truck. The upper body was crushed. There was no face. I got physically ill.Mrs. Asher studies Grace. MRS. ASHER You're not Canadian, are you? GRACE No. I'm with the FBI.Grace shows her creds. MRS. ASHER There was three. About two weeks ago. I began turning off my telephone when I go to bed. GRACE You have some very nice things, Mrs. Asher. MRS. ASHER Thank you. Some of them have been in my family for several generations. Please call me Rebecca.Grace looking at pictures on the wall of a good-looking,athletic kid. They stop at age fourteen. GRACE Is that Martin? MRS. ASHER No. That's Reese. Martin's older brother. He drowned in a terrible accident.Grace notes a photo of a smiling young REESE receiving along distance swimming trophy. GRACE I'm so sorry, Rebecca. How did he drown? MRS. ASHER The San Michel River. Martin fell out of their raft and Reese jumped in to save him. (MORE) (CONTINUED) 43.CONTINUED: MRS. ASHER (CONT'D) There was a lot of snowmelt that year. Martin reached the bank. Reese didn't. It was their fourteenth birthday. GRACE Their fourteenth birthday? MRS. ASHER They were twins. Identical twins. GRACE You said Reese was older. MRS. ASHER By three minutes. They were very different boys. GRACE To lose one son so young, then to lose the other two years later; to think you've lost him. That must have been devastating.Mrs. Asher lights a cigarette. Crosses to the window, sopoised, so tragic. Grace studies her with a criticaleye. MRS. ASHER Reese was very charismatic and outgoing. Martin was introverted. He never thrived like Reese. He was a very disturbed young man. Reese was Martin's world. Martin never recovered his equilibrium after we lost him. He changed. Martin began to intimidate me. He could be very menacing. He began imitating Reese at school and that lead to fights with other students. At sixteen he stole some jewelry that was very precious to me and ran away. A few days later the Thunder Bay police called and said my son had been killed changing a tire. GRACE The police want you to sign this so they can exhume the body in Martin's grave and verify identity. (CONTINUED) 44.CONTINUED:Mrs. Asher takes the paper. MRS. ASHER I'll sign it. I already know somebody else's son is in that casket.The PHONE RINGS. MRS. ASHER Excuse me.Mrs. Asher crosses to the kitchen and answers.Grace looking around, takes a look down a hallway.LAUGHTER O.S. as Mrs. Asher chats with a friend.INT. BATHROOM - DAYGrace pokes her head in, looks around. Nothing of note.INT. MRS. ASHER'S BEDROOM - DAYThe door opens and Grace peers in. Flowing silk, throwpillows, like a Sultan's tent. Interesting.INT. THE BOYS' ROOM - DAYGrace opens the door. Bingo. More LAUGHTER O.S. A bed,still made. Old toys. Sports equipment. An "R" on theheadboard.On the other side; shadows on the wall where picturesused to hang. Indents in the carpet. Where a bed usedto be.Grace's brow furrows. Martin has been erased.INT. HALLWAY - DAYGROWLING. Grace turns. Sees a diminutive DOBERMANSNARLING at her. The miniature hound guards a door.A door with several locks. Grace takes a step toward it.The tiny dog bares its fangs. Grace reaches for adeadbolt. The little DOG GROWLING. One deadbolt isopen. CLICK. Grace opens the other one. (CONTINUED) 45.CONTINUED:Grace cracks the door. Darkness, stairs leading to thebasement. MRS. ASHER (O.S.) The bathroom is there.Grace startles. Mrs. Asher is right behind her. GRACE I know. I was snooping.Grace closes the door. Mrs. Asher escorts Grace away,past the boys' room. MRS. ASHER (re: the boys' room) My friends call it the shrine. It can be difficult to let go. GRACE I know.A beat. MRS. ASHER He's killing people, isn't he?Grace nods: yes. Mrs. Asher assumed as much. GRACE That doesn't surprise you? MRS. ASHER No. It doesn't.INT. UNMARKED CAR - MOVING - DAYGrace gets in. Laval shaving with an electrical razor.Laval pulls out. GRACE That lady is definitely a queen without a country. I should have curtsied. (watches him shave) Hygiene on the road. Very efficient.The razor dies. Leaving Laval half-shaven. INSPECTOR LAVAL Merde! (CONTINUED) 46.CONTINUED:Grace trying not to laugh, hands him a form. GRACE She signed. Start digging.EXT. GRAVEYARD - DAYA back hoe rips a bucket of earth from amidst the graves.A couple UNIFORMS watch.INT. AUTOPSY ROOM - DAYA cheap wood coffin sits on a gurney. The lid has beenremoved. Grace, Laval and Reynaud peer inside and REACT.Reynaud looks ill. MEDICAL EXAMINER Hmm. Could be worse after getting run over by a pickup and twenty years in the ground.INT. AUTOPSY ROOM - DAY (10 MINUTES LATER)The body has been moved to the exam table. Covered withmold the corpse seems to be upholstered with baby bluevelvet. The Medical Examiner checks the scale. MEDICAL EXAMINER Bodies get mixed up all the time. Police found the wallet, called the mother and nothing was cross- checked. This was his head.Medical Examiner pulls a plastic bag from the coffin.Slices it open, revealing skull fragments and teeth.Passes them off to an ASSISTANT. MEDICAL EXAMINER (to the assistant) Get that to Doctor Shivani and make sure someone signs for it. (to Grace) She'll rebuild his jaw line and check it against Martin Asher's dental X-rays. GRACE How soon, sir? MEDICAL EXAMINER (shrugs) This is a priority case, this afternoon maybe. 47.INT. POLICE GYM - DAYFive XL-sized COPS pump iron before their shift.CAMERA FINDS GRACE.She's doing sit-ups on a decline bench, holding a 25-pound plate to her chest. She's a machine. Sweating.Intense. The cops can't help but to be impressed.Grace's CELL RINGS. She doesn't stop, does sit-upsfaster. At the last second she answers. GRACE (into phone, panting) Vanderholt. INSPECTOR LAVAL (V.O.) (filtered) Am I interrupting something? GRACE Yes. What? INSPECTOR LAVAL (V.O.) The X-rays don't match. GRACE Find the real Martin Asher. He's your killer. (a beat) You better get his mother someplace safe.EXT. POSH HOTEL LOBBY - NIGHTAn UNMARKED parked with Laval and Grace inside. Theywatch:INT. POSH HOTEL LOBBY - GRACE'S POV - NIGHTMRS. ASHER checking in.INT. UNMARKED CAR - NIGHT GRACE How'd she finagle a room there? INSPECTOR LAVAL She's a very slick woman. (CONTINUED) 48.CONTINUED: GRACE She didn't have one picture of Martin. Not one. Even cut him out of the old yearbooks. And she had a basement door like a vault. She's hiding something. In the basement of her house. What is it, ten minutes away from here? Her house.A beat. Laval looks at Grace, decides he can trust her. INSPECTOR LAVAL If she's under our protection and something happens to her house, her belongings, the department could be liable. There could be a lawsuit. GRACE You're right. We should make sure her front door is locked.Laval makes a U-turn.INT. ASHER HOUSE - NIGHTThe front door opens. Revealing Grace, and Laval as hepockets a lockpick gun. INSPECTOR LAVAL I'll stay outside. Kill him if he's in there. GRACE Yeah, I'll get 'em.Grace enters with a flashlight and a pistol. Shecautiously clears each room until she is sure she isalone.Grace crosses to the hallway. The little dog is there.GROWLING. Grace tosses it a hamburger patty. GRACE Let's be friends.The dog happily attacks its treat as Grace opens thedeadbolts on the door the little dog was guarding. 49.INT. BASEMENT - NIGHTGrace descends CREAKING STOPS. Shining her light around.Old boxes. Furniture. Forgotten things. Dust.Grace is looking for something and she's not sure what.She spots a door chain. She moves some boxes. Finds aleather razor strop hanging next to a small door.Grace's hand undoes the chain. Lifts the latch and opensthe door as rusted HINGES SQUEAL.INT. MARTIN'S CELL - NIGHTGrace moves aside cobwebs with her big flashlight. Theroom is tiny. Exposed joists overhead. Grace sits onthe cold concrete. A sleeping bag rolled in the corner.One wall is just chicken wire. Her flashlight beam stabsat the yawning darkness beneath the house.There is a public school desk chair combo. The nameMARTIN neatly carved into it, then scratched out. Abroken light bulb overhead, its wires running to a cornerof the house.Grace cautiously unrolls the sleeping bag. A pair ofsocks, underwear, T-shirt neatly folded inside. Sherolls it back up. Finds a large jar, picks it up. Veryold feces inside, a makeshift toilet. She sets it down.Grace pulls the door shut. And turns off her flashlight.Pitch black. So quiet.She sits there, in the musty little cage. Listening toher BREATHING, to her HEART BEAT. So lonely, sofrightening. A tear rolls down her cheek. She SNIFFLES,wipes away the tear. A beat. Grace hears SCRATCHING.She clicks on her light.GRACE'S FLASHBACK - INT. MARTIN'S CELL - NIGHTYOUNG MARTIN ASHER IS HUDDLED in the corner, shivering,CRYING and WHIMPERING. Martin looks AT us with hauntedeyes.INT. MARTIN'S CELL - NIGHT (PRESENT)Grace REACTS, nothing is there. Chuckles for scaringherself. Grace feels the chicken wire. MORE SCRATCHING.Grace freezes. Listening carefully. Mice?SOMETHING moves closer. (CONTINUED) 50.CONTINUED:She swings her flashlight on: TWO FIERY EYES.WHAM! Something big slams into the chicken wire. Teethflashing, GROWLING. It's a BADGER. Grace almost shootsit. The fearless beast GROWLS.Grace kicks the door open and runs out of there.INT. UNMARKED CAR - MOVING - NIGHTLaval driving back to Montreal. Grace is shaken. GRACE I think I just shaved ten years off my life. INSPECTOR LAVAL Ah, you do feel fear. GRACE Yes. Rabies scares me. Only rabies. Nothing else.Her CELL RINGS. GRACE (into phone) Vanderholt. COSTA (V.O.) (filtered) Grace. Someone broke into my office. Minutes ago. GRACE At the art gallery? COSTA (V.O.) Yes. My office here. GRACE Are they still there? COSTA (V.O.) No. GRACE Did you call the police? COSTA (V.O.) You told me to call you if anything happened. (CONTINUED) 51.CONTINUED: GRACE We'll be right there. I'm sending a car. Don't touch anything.EXT. ART GALLERY - NIGHTTwo POLICE CRUISERS SCREECH to a stop outside.INT. ART GALLERY OFFICE - NIGHTWooden painting crates everywhere. A table saw formaking frames. Costa is distressed. Grace looking at amessage typed onto his computer screen. COSTA I do all my calls to Europe and shipping stuff at night. My address book was on the screen when I went out for coffee. I came back and this was on the screen. GRACE How long were you gone? COSTA Ten minutes. Maybe. When I returned, that was on the screen.INSERT COMPUTER SCREEN: MR. COSTA: MEET ME TONIGHT @ LESFRERS ON RUE CHAUCER. CU @ THE BAR 1:30 A.M.Reynaud takes a picture of the screen. Laval checkingthe door's lock. Finds no marks. Gives Costa a look. COSTA Is this about the strangling? Is that guy after me? GRACE Please relax, Mr. Costa. We don't know if there's a connection yet. INSPECTOR LAVAL Is anything missing. COSTA No. Everything's here. (a beat) Shit. He took my organizer and my business checkbook.Grace nods for Laval to step outside with her. 52.EXT. ALLEY BEHIND GALLERY - DAYGrace and Laval. GRACE How do we know Costa didn't stage this? For attention or something. INSPECTOR LAVAL He's happy to see you. But the alarm was jumpered. Do you think Costa knows how to jumper an alarm? GRACE We should take the computer.Costa who has followed them out, overheard. COSTA Don't take the computer. That's my brain.Costa turns to Grace. COSTA I'm not making this up. Believe me.Grace shrugs, sees an ATM facing the alley. GRACE Should I believe you?Grace crosses to the ATM. Peers into its securitycamera. GRACE Or should I believe this. COSTA Believe what you want.He's cocky, Grace likes that.EXT. ALLEY - ATM VIDEO - NIGHTBeing fast forwarded. COSTA exits his office. Locks thedoor. He walks TOWARD CAMERA and EXITS FRAME.A MAN'S SILHOUETTE in the alley. Crossing towards theoffice door. An ATM CUSTOMER blocks the shot. The ATMcustomer moves on. (CONTINUED) 53.CONTINUED:Nobody is there. Then:MARTIN ASHER exits Costa's office. Closes the door.APPROACHES CAMERA, nonchalant. His face is clear; thepiercing eyes, the sharp features. Asher EXITS FRAME.Fast forward some more until Costa ENTERS FRAME andcrosses to his office with a cup of coffee. The VIDEOSTOPS. It REWINDS. FREEZES ON ASHER. CUT WIDE TO:INT. TASK FORCE ROOM - NIGHTCosta, Grace, Laval and Reynaud. Costa stands therelooking at Asher's image on the video monitor. INSPECTOR LAVAL Is that the man you saw choking Mr. Ford?Fear flashes across Costa's face. COSTA I must of walked right past him. GRACE Mr. Costa, is that the man you saw kill Mr. Ford in the parking lot? COSTA Yes. That's him. That is the man I saw murder Todd Ford in the parking lot outside my gym. No doubt. Now will you go catch him, please? GRACE Thank you. I just needed you to say it. COSTA Who is this guy? He's like a Ninja. Sneaking into my office. How dangerous is he? Does he want to kill me? GRACE John, no harm will come to you. Listen to me. No harm will come to you. I promise. Anyone who wants to hurt you will have to get through these two for starters. (CONTINUED) 54.CONTINUED:She gestures at Laval and Reynaud. Costa turns to them. COSTA How many people have you killed?Reynaud shrugs. INSPECTOR LAVAL You will be safe, my friend. GRACE We want you to be there tonight.A beat, Costa smiles. Realizes she's serious. COSTA No. I'm not meeting him. Absolutely not. You ever go fishing? The bait always dies. GRACE He won't get within fifty feet of you. The second we see him, the cuffs go on. COSTA (adamant) Grace, no.INT. STAKEOUT VAN - NIGHTCosta gives Grace a look as Reynaud tapes a microphone tothe BODY ARMOR he is wearing. COSTA What if he shoots me in the head? INSPECTOR REYNAUD I will take the bullet for you like the Secret Service. Okay, friend?Reynaud is serious. Grace helps Costa with his shirt. COSTA You're good. You could move a lot of art if you wanted to.Their eyes meet for a beat. COSTA And inspire some too, I'm sure.Right then something very rare happens; Grace blushes. 55.INT. LES FRERS - NIGHT (1:29 AM)Ultra-hip. The dance floor THROBS with CLUBGOERS. THEDJ THUMPS a EUROBEAT.Costa sits at the bar. PEOPLE all around him, jostlingto buy drinks. Two busy BARTENDERS sling booze.Costa finds the noise and crowd absolutely nerve-wracking. He twirls the ice in his Scotch with a finger.Staring at the clock. 1:31 AM. He's nervous, sweatbeads his forehead. A big BARTENDER, an undercover cop,pours Costa a Scotch. BARTENDER Don't worry. You're doing fine. COSTA Could you look any more like a cop? BARTENDER What? COSTA Could I have some water? I'm cooking in this thing.Costa scratches around the neck of the hot BODY ARMOR.The Bartender gives him a Dasani.VARIOUS ANGLES: A half-dozen UNDERCOVERS are mixed inwith the CLUBGOERS.CAMERA FINDS Reynaud sitting at the bar near Costa, givesCosta a reassuring nod through the crowd.INT. UNMARKED CAR - NIGHT (1:53 AM)Parked outside the club. Grace and Laval watch Costa viathe TV built into the dash. GRACE Costa fits Asher's choice of victims. Travels the World looking for art. Single. No kids or anything. (looking around) Asher's here somewhere. Watching. With all the patience in the world. (CONTINUED) 56.CONTINUED: INSPECTOR LAVAL I wish I had his patience. He should be a cop. His mother should be punished. Like the owner of pit bulls that attack kids. GRACE You got kids? INSPECTOR LAVAL Three. GRACE Don't keep them in a cage.INT. LES FRERS - NIGHT (2:03 AM)Costa looks miserable. Overheating, anxiously nursinghis water. He looks around. Then REACTS. A note sitson the bar top. Right in front of him. Costa looksaround. Only sees strange faces.Costa carefully unfolds the note. It reads: "MEET ME INTHE RESTROOM NOW."INT. HALLWAY - NIGHTCosta walks down a narrow hallway. Paint peeling. MUSICMUTED. Red light bulbs hanging from the ceiling.Approaching the men's room, Costa looks over hisshoulder. No one is watching.INT. MEN'S ROOM - CONTINUOUS ACTIONCosta cautiously pushes open the door. Stepping inside.Dingy tiles. DRIPPING FAUCET. Several stalls.The room seems empty. Costa swallows, bends down.Checks under the stalls. Nothing. Nothing. Nothing...Then. Something. At the far stall. A pair of men'sshoes. Black. Polished. Facing the stall door.Waiting...Costa freezes. Backs away as...The stall door slowly swings open. HINGES CREAK. Afoot, a trouser cuff. A leg stepping out... (CONTINUED) 57.CONTINUED:A BLACK MAN emerges. One of the guys at the end of thebar. Costa exhales. A bundle of nerves. BLACK MAN Go outside.Costa eyes him. COSTA What? BLACK MAN We're calling it off.EXT. ALLEY OUTSIDE CLUB - NIGHTCosta bursts from the fire exit, fed up. He rips off thewire, he struggles out of the body armor. Grace andLaval watching. COSTA I have a life. I can't play superhero for you. I don't handle stress very well. I have an art show to open tomorrow and I don't know what I'm putting on the walls yet. GRACE I know you have a life. So did the people who have lost theirs. Someone else might die if you do not help us. Every time someone dies it affects forty, fifty lives.Costa looks at her, arms on his hips. COSTA Grace, I've been cooperating. I even drew you a picture. You can't put your responsibility on me. You have a badge, not me. GRACE If somebody else dies, and you know you could have done more to stop it, you're going to feel like shit for a very long time, Mr. Costa.A beat. That resonates with Costa. (CONTINUED) 58.CONTINUED: COSTA I want to help you guys but I don't have time to hang out and listen to bad techno.A beat. GRACE It's okay to be scared. COSTA Scared? I'm off-the-charts terrified. There's a pissed-off serial killer after me. I mean, what did I do to him? GRACE You saw him and that's enough. Don't stop living your life. You'll be protected by armed officers twenty-four seven. COSTA Until he's caught? GRACE (softly) I can't promise you that.Costa is torn, Grace empathizes with him. COSTA I have a lot of work to do. GRACE A car is watching the gallery. You'll be okay.Costa looking at Grace. He decides to trust her.INT. DIRECTOR GILLET'S OFFICE - DAYDirector Gillet leans against a wall, smoking a pipe.Grace, Laval, Reynaud sit on the tired couches. DIRECTOR GILLET So who was in Asher's grave? INSPECTOR LAVAL Dan Soulsby. He went missing from the Alberta Military Institute two days before the accident. (CONTINUED) 59.CONTINUED: GRACE I'm sure Soulsby's death was a homicide, Asher saw the opportunity and took it. He became Soulsby and bummed around Seattle for a couple years. DIRECTOR GILLET Why is Asher after Costa? Why isn't he in Mexico getting a new face? GRACE Costa saw him. Costa caught him in the act, caught him being Martin Asher. Seen first by his mother, then by Costa. For the first time he's failed at taking a life, and since we found the apartment, he can't be Edwards. To be seen, to be recognized, is a horrifying thing to Asher. He has no identity and wants it that way. DIRECTOR GILLET Where is the real Mr. Edwards? GRACE Likely dead and buried south of the border somewhere. (beat) South of the American border somewhere. Visa records put Asher, using Kohler's ID and Edwards at a Mexican surf resort. Edwards' last charge was sixteen hundred dollars at a 'no questions asked' facelift clinic in Guadalajara.Director Gillet taps out his pipe. Looks at a new, moredetailed portrait of Asher. DIRECTOR GILLET Have you contacted the clinic? INSPECTOR LAVAL Yes. They are also 'no questions answered.' Mr. Kohler suddenly paid off his credit card bills, thanks to money from Edwards. (CONTINUED) 60.CONTINUED: DIRECTOR GILLET Keep's the collection agencies off the trail. How do we flush Mr. Asher? GRACE He's focused on Costa. Who fits the profile of Asher's victims. He went on Costa's computer and E- mailed copies of Costa's files to an E-mail account in Denmark. Constant threat of discovery, Asher will become more disorganized.Laval and Reynaud agree. DIRECTOR GILLET Okay. My office will arrange a press conference. I will tell a room full of correspondents we have a suspect who is dead and murder victims who are alive. And I'll sound like a madman. GRACE It does sound crazy. That's what the press likes, sir.INT. POLICE BUILDING LOBBY - NEWS VIDEO - DAYDirector Gillet stands tall before a podium. Blinded bylights. A bouquet of microphones in his face. Besidehim is a haunting poster-sized portrait of Martin Asher. DIRECTOR GILLET Mr. Asher, we know who you really are. We will find you and we will arrest you. You can hide no longer.EXT. ART GALLERY - DAYPosters advertise SUMMERFEST. CITY WORKERS put upbarricades and porto-potties.INT. ART GALLERY - DAYTwo CARPENTERS uncrate and hang paintings. 61.ON COSTALost in thought. He studies a series of vivid paintingsleaning against the wall. He crosses. Changes theorder. Steps back. Something isn't right. CARPENTER Mr. Costa, some men in that car have been watching this place all morning.The Carpenters looking out the window. COSTA They're protecting the art. Go ahead and hang those. Be very careful. CARPENTER Yessir.Costa hears a POLICE RADIO. Spins around. Grace andReynaud have entered. Costa is apprehensive. What now?Grace gives him a reassuring smile. GRACE Security is going to be very solid tonight.She waves him out of earshot of the Carpenters. Theirfaces are close. Grace gets butterflies. COSTA Is he going to show up tonight? What do I do, offer him a drink? GRACE He won't show. But we want to be here in case he does. Four plainclothes officers will form a perimeter watching the four corners. COSTA A perimeter, excellent. GRACE Yes. And four plainclothes officers will be in here. Mingling. COSTA Mingling? I don't need four bruisers crashing through my clientele. (CONTINUED) 62.CONTINUED: GRACE The officers will be very discreet. We won't interfere with your thing. COSTA With my thing. Will you be mingling? GRACE Sure. If you feel safer. COSTA Much safer.EXT. ART GALLERY - NIGHTSummerfest, a street festival, is just warming up. Itcould be Mardi Gras, plastic cups and glowsticks.INT. ART GALLERY - NIGHT (9:39 PM)A cutting edge club feel. A DJ spins a captivatingmellow mix. The gallery is filled PATRONS ABUZZ withchit-chat. Inspector Laval and Reynaud study thepatrons. INSPECTOR LAVAL (subtitled French) This painting costs more than my house.Reynaud shakes his head.FIND GRACEShe's stunning and shy about it. She examines apainting. A gentle hand touches her back. She turns.It's Costa. He hands her a highball. GRACE Thanks. COSTA You look a little anxious. GRACE (re: her dress) This isn't me. (CONTINUED) 63.CONTINUED: COSTA It's all you.Grace gives Costa a look. She sips her drink, nods atthe painting. GRACE I'm trying to get into the show, but I mean. What is this? It looks like somebody napalmed the Garden of Eden. COSTA Mangos. Ripe mangos hanging on a branch.Now she sees it. GRACE Oh. Okay. Why the borders? Almost every painting has one. Was he in prison or something?Costa REACTS, impressed by Grace. COSTA Most people don't notice. This is from his prison series. He could see a mango grove through his cell window. He made some of the pigments himself. From flowers. From his own blood. GRACE What was his crime? COSTA He attacked his neighbor with a machete. There was a woman involved. GRACE Always is.Grace sips her drink, letting herself relax. She enjoysCosta's company. GRACE He had a lot of lovers, didn't he? COSTA Dozens. He was a consumer of life's pleasures. (CONTINUED) 64.CONTINUED: GRACE Now he's dead and you get rich? COSTA His children formed a corporation, I take ten percent. I'm not a buccaneer, Grace.Grace looks at Costa and smiles. COSTA What? GRACE I don't think I've ever met anyone quite like you. COSTA You're very sensitive for... GRACE An FBI agent?The ELEGANT WOMAN spots Costa and crosses. She lays ahand on Costa's shoulder. He turns and they kiss cheeks. ELEGANT WOMAN John, it's amazing tonight. I want to cry, I'm so touched.Grace watches her hand linger on Costa's arm. And isamazed that she feels jealous. She catches Costa's eye. GRACE Mr. Costa, I would like to discuss an arrangement for the series.The Elegant Woman REACTS. ELEGANT WOMAN Just a sec, John.She crosses to the Older Man in b.g. Costa is miffed. COSTA What are you doing? GRACE She's not writing the checks.The Elegant Woman returns with the Older Man. He grabsCosta's hand. (CONTINUED) 65.CONTINUED: OLDER MAN John, it's incredible what you've put together. (aside to Costa) The thing we were talking about the other day, well I'd like to proceed. Hell, I'm sick of making two percent in the market. COSTA Dick, they're yours.The Older Man smiles, shakes Costa's hand. The ElegantWoman looking at Grace, arms crossed, enjoys her victory.Grace plays along, stalks off, hiding a grin.INT. ART GALLERY - NIGHTA few minutes later Costa finds Grace at the turntableslooking through the DJ's records. GRACE Don't you miss wax? COSTA You helped me close the biggest sale of the night. GRACE What's my cut? COSTA What do you want?Grace smiles coyly. GRACE I don't know.Costa looks at Grace for a long beat. Not sure what hergame is, or if he wants to play. COSTA Let me know when you do. Excuse me.Costa walks away. Grace REACTS; she didn't want that.INT. ART GALLERY - BATHROOM - NIGHTCosta takes a leak. He's in a good mood. (CONTINUED) 66.CONTINUED:The window above the stalls is open. The noise of thePARTYING CROWD on the sidewalks outside.Costa finishes, washes his hands. Pauses. Smoothes hishair.SOMEONE BEHIND HIMCosta looks in the mirror and REACTS.MARTIN ASHER stares at him from the mirror. No doubt whoit is. Asher is wound tight, not at all happy. ASHER Put your hands on the wall.Asher jams a gun in Costa's back. Costa is very scared. ASHER Feel that? COSTA Please be cool with that. I don't wanna get hurt. ASHER I should blow your spine out. My face is everywhere. I have to hide in the shadows like a fucking animal because of you. COSTA Yessir. I apologize for everything you think I may have done. ASHER We're moved past sorry. You ruined everything. John, soon to be dead, Costa.Asher's eyes flash. WHAM! Asher slams Costa's face intothe mirror. Costa's nose bleeds. COSTA Stop it!INT. ART GALLERY - NIGHTReynaud stands near the bathroom. He heard that. Heapproaches the door, tests the knob. 67.INT. ART GALLERY - BATHROOM - NIGHTThe door opens. Costa hits the deck. Asher spins, aimsat Reynaud and FIRES. POP-POP-POP-POP! Reynaud dropsand rolls out of the line of fire.INT. ART GALLERY - NIGHTAsher bursts from the bathroom, running right overReynaud, who draws his pistol.Grace pulls a pistol, Laval too. Asher running throughthe patrons. Grace takes a knee and aims. She doesn'thave a clear shot. Asher aims his gun straight ahead ashe runs. People hit the deck. ASHER Out of my way!POP! Asher SHOOTS a WINDOW, SHATTERING it. He shouldershis way through the safety glass. Grace and Lavalfollow.EXT. ART GALLERY - NIGHTChaos. Summerfest is in full swing. A swirling, boilingCROWD of shiny faces. Asher dives into their midst.Grace plunges in after him. Inspector Laval follows.INT. ART GALLERY - BATHROOM - NIGHTCosta is stunned, Reynaud checks him for bullet holes. COSTA I'm okay.From Reynaud's radio: INSPECTOR LAVAL (V.O.) (filtered, subtitled French) Jean, he ran into the damn crowd.Reynaud bolts out of there.EXT. FESTIVAL STREET - NIGHTAsher and his pursuers leave a wake of disturbed REVELERSthat Reynaud follows.Asher running. Careening, rolling, bouncing off PEOPLE.He has the tireless power of a soccer player. 68.ON GRACERunning. Equally tireless. Locked onto Asher like amissile.Grace is slowly gaining on Asher.Laval behind her. Running. Screaming in his radio. INSPECTOR LAVAL (subtitled French) We're heading East. Form a line at Seychelles.A dozen UNIFORMS charge through the crowd.EXT. INTERSECTION - DAYPolice RADIOS busy with CHATTER. UNIFORMS clear a pathfor two PATROL CARS. SIRENS WHOOP as they coast in, TAPbumpers, blocking the intersection.POLICE OFFICERS form a formidable skirmish line.SHOUTING for REVELERS to move aside.EXT. FESTIVAL STREET - NIGHTAsher running. Gun in his pocket. Elbowing his waythrough the crowd. Asher REACTS. He sees the gauntletof UNIFORMS and PATROL CARS blocking the intersectionahead.Asher shoves his hand in his pocket...BOOM! BOOM-BOOM! POP-POP-POP!Thunderous GUNFIRE. Grace hits the deck. The Uniformshit the deck. The CROWD SCREAMS, CLAPS and WHISTLES.It's not gunfire...TILT UP.FIREWORKS unfold in the night sky like giant flowers offire. Rivers of sparks.Grace recovers her feet with palpable relief, she thoughtshe was dead for a second. Grace looking around forAsher. Laval reaches her. GRACE Shit. You see him?POP-POP-BOOM! More fireworks. Laval gestures for someUniforms to spread out. (CONTINUED) 69.CONTINUED:A SHRILL SCREAM O.S.From an apartment building. Grace runs into thebuilding. Laval follows her.INT. APARTMENT - HALLWAY - NIGHTGrace and Laval running. More SCREAMING O.S. They runupstairs.INT. APARTMENT - UPSTAIRS HALLWAY - CONTINUOUS ACTIONAn UPSET WOMAN is in the hall, standing by the just-beenkicked-in door of her apartment. Grace and Laval chargeinside.INT. UPSET WOMAN'S APARTMENT - NIGHTThe SLIDING GLASS DOOR to the balcony has been shattered.Below and beyond is a long rooftop.Madly lit by a swirl of bright lights. A huge outdoordance floor throbs with energy in a park along the St.Lawrence River.GRACE SEES --ASHER jump from the far end of the roof.EXT. ROOFTOP - NIGHTLaval will go no further. Grace gets a running start,jumps from the apartment window, tucks and rolls. On herfeet again, Grace sprints along the roof.FIREWORKS BOOM and POP overhead. THUMPING TECHNO.Grace reaches the edge of the roof. REACTS. Reynaud hascaught up with her.EXT. RIVER PARK - GRACE'S POV - NIGHTAsher has vanished into a vast sea of DANCERS, adornedwith strobing and glowing jewelry. The BEAT dominatesall sound. 70.EXT. RIVER PARK - NIGHTGrace and Reynaud trade looks, tenacious street cops atheart, they holster their guns and jump into the crowd.FIND ASHER --A dozen yards away. He stalks a dancing RAVER who wearsa huge bundle of glowing necklaces.Asher snatches necklaces. Disappears into a wall ofDANCERS.FIND GRACE --She and Reynaud scan the moving bodies for Asher. GraceGLIMPSES the back of Asher's head. Grace and Reynaudtear through the crowd like bulls, working together, abonding moment.Asher is an arm's length ahead of Grace. She reachesout, her fingers snag the cloth of his shirt. Asherturns...IT'S NOT ASHER.Grace shoves him aside and moves on. She SEES adisturbance up ahead. Grace shoulders her way throughthe crowd.Grace and Reynaud converge on the disturbance. Theycleave through ONLOOKERS to reveal...A FIGHTTwo drunk COLLEGE JOCKS slug it out. Grace looks around;no Asher. Angry, frustrated, Grace grabs one of theJocks, hurls him to the ground. Six UNIFORMS swarm inand arrest the two Jocks.Reynaud throws up his arms in frustration. He looks atGrace, they know they've been beaten.EXT. RIVER PARK - CRANE SHOT - NIGHTPULL BACK to reveal Grace and Reynaud surrounded by anocean of bodies in motion.CAMERA FINDS A DANCER.Some dude with his shirt off grinds on three HOTTIES.PUSH IN ON THE DANCER. (CONTINUED) 71.CONTINUED:It's Asher. His face is an evil green from his mane ofpilfered gel glow necklaces. Red plastic cup in hand,Asher enjoys the boisterous anonymity.ASHER'S EYESDangerous and cold. They track Grace as she movesthrough the crowd.Asher grabs one of the hotties, begins making out withher.Grace searching the crowd. Scanning faces.Grace passes within feet of Asher.Asher smirks. Now another hottie wants a kiss. Ashercomplies.INT. ART GALLERY - NIGHTIt's late. Costa has a beer, his nose bandaged.INSPECTORS finish up questioning PATRONS. Grace enters,crosses to Costa. She's tense, wound tight. GRACE (O.S.) Need a ride home?Costa looks at her. Despite everything, his face showshe is glad to see Grace.INT. UNMARKED CAR - MOVING - LATE NIGHTGrace drives. Costa in the passenger seat. COSTA The night started out great. Everything gelled. Everyone was happy. You helped land a big fish and the feeding frenzy started. Six figure pieces were flying off the wall. (shivers) He said he was going to blow out my spine. I was thinking surgery. Six months in bed. Exercise pools. Never walking again.Grace looks at him. Costa is worried. (CONTINUED) 72.CONTINUED: COSTA He was in my bathroom and none of you could stop him. I need to leave town. GRACE That might be a good idea. Until then I'll check under your bed for monsters.Costa looks at her. Grace gives him a warm, open stare. COSTA I would appreciate that very much. (a beat) Can I profile you? I read your book. GRACE Please, don't. COSTA Thirty-something, single white female. Best schools best grades. Discovers adrenaline policing the inner city. GRACE (cuts in) John, stop it. Please. Let's shift the conversation from me and my business onto something inbounds. COSTA Okay. Are you going to my funeral when Martin Asher cuts my throat?They both know she's been lowballing the threat. We cantell Grace is truly concerned for Costa's welfare. COSTA You let him get away.Grace takes that hard. GRACE No excuses. I'm sorry. COSTA I meant you in the general sense. (a beat) Can you catch him? (CONTINUED) 73.CONTINUED: GRACE We got his name. We catch everyone sooner or later. COSTA Sooner, please.INT. COSTA'S APARTMENT - NIGHT (3:33 A.M.)Spacious, lofty. Costa and Grace enter. COSTA Careful.Costa scoots aside a pile of clothing. The newspapers.Cool art, sketches, images all over the walls.Reminiscent of Grace's hotel room. And a very cool viewof downtown.Grace taking everything in. Art books, sketch pads.Piled high on the desk. She looks at the ceiling. SEESnotes and sketches taped up. Grace laughs to herself. COSTA I'm sorry. It's a sty. Must be a profiling mother lode. GRACE I'm done profiling you. I got you figured out. COSTA A failed healer, a failed artist.Grace looking at a drawing on the wall. Costa winces, hedidn't want her to notice it. GRACE Is that how you see yourself? COSTA No. That's you. I did it last night. GRACE This is how you see me? COSTA No. It's how I think you see yourself. (CONTINUED) 74.CONTINUED: GRACE And how do you see me?Costa licks his lips. COSTA That would be out of bounds.Grace looking at him. Costa looking at her. A staringmatch. Costa and Grace try not to laugh. They end upgiggling. COSTA What was that? GRACE I don't know. John, games are fun. But head games are dangerous. COSTA Then keep your head out of it.A beat. Grace shrugs, back to business. GRACE The Justice minister is going to relocate you to another city until Mr. Asher is in custody. COSTA I don't know what your deal is. One second you're so there, then all I get is the badge. GRACE I apologize if you've been getting the wrong signal. COSTA Yeah. Relocate where? GRACE Another province. They want you on a flight tomorrow morning. COSTA This monster comes into my life and I have to leave?A UNIFORM SERGEANT enters. (CONTINUED) 75.CONTINUED: SERGEANT My people are in place. GRACE Thank you, Sergeant.The Sergeant exits. COSTA This is surreal. What do I pack? GRACE What you need. Movers can get the rest. COSTA I need tomorrow morning to finish up my business here. GRACE I'll let them know.This is goodbye. Neither of them feels very good aboutit. COSTA I thought you were going to check under my bed.Grace smiles, plays along, crosses, looks under the bed,stretching for Costa. Driving him nuts. GRACE No monsters. COSTA Thank you.Grace holds out her hand. They shake. GRACE I probably won't see you again until the trial. If there is a trial. COSTA Goodbye, then.Costa leans across her, braces himself against the wall.A bold move. Now they are eye to eye. Grace kissesCosta for a long beat.Grace breaks the kiss. Holds a finger to her lips; shhh.She turns and exits. The door shuts behind her. Costais going to miss Grace. 76.EXT. COSTA'S APARTMENT - DAYThe next morning. Laval pulls up in UNMARKED #1, next tothe patrol car that has been guarding Costa's apartment.With a wave the UNIFORM behind the wheel drives off.Laval exits his car. Crosses to Costa's door.NEW ANGLEReynaud and Grace have just pulled to the curb a halfblock away.INT. UNMARKED #2 - DAYReynaud behind the wheel, turns to Grace. INSPECTOR REYNAUD You spent a lot of time with Costa.Grace isn't sure if that's an accusation. INSPECTOR REYNAUD I like him. He's a good guy.Grace smiles.EXT. COSTA'S APARTMENT - DAYLaval RINGING the bell.A white PLUMBER'S VAN pulls up behind Laval's unmarked.A PLUMBER gets out. Coveralls, clipboard. Crosses toanother apartment.Costa opens the door. With two packed bags. Laval takesone. Costa takes one last look at his home. Locks thedoor.Laval watches the plumber KNOCKING a couple doors down.Costa and Laval cross to unmarked #1.The plumber approaches them. Costa looking at him,REACTS.The plumber is MARTIN ASHER. A gun in his hand. Lavaldrops Costa's bag, reaches for his holster...POP-POP-POP! Asher drops Laval with three to the face. (CONTINUED) 77.CONTINUED:Costa stares in disbelief at the mortally wounded cop.Asher shoves Costa into the driver's seat of unmarked #1. ASHER You're driving.INT. UNMARKED #2 - MOVING - DAYReynaud GUNS IT.INT. UNMARKED #1 - DAYCosta behind the wheel. Asher in the passenger seat. COSTA You just shot a cop. ASHER Let's go. Go!Costa hits the gas and pulls out.EXT. COSTA'S APARTMENT - DAYSCREECH! Reynaud slides to a stop. Leaps from thestill-moving car and checks his friend Laval. Who is nomore. Grace wants to get Asher. GRACE You staying or going? INSPECTOR REYNAUD I'm not leaving.Grace slides behind the wheel. And takes off in themuscular cop car.INT. UNMARKED #1 - MOVING - DAYCosta driving. Scared to death. Asher has the gun inhis lap aimed at Costa's face. Asher looks exhausted.Hounded.Asher notes the police radio. (CONTINUED) 78.CONTINUED: ASHER Jesus, he was a cop. He's dead because of you, because you made the choice. The choice to fuck with me. That, John, was a very bad choice.A T intersection ahead. COSTA Which way? Left, right? ASHER Left.Costa makes the turn. It leads to a HIGHWAY. ASHER You're dead, John Costa. You fucked with the wrong man, shitsmear.Costa is shaking, looks in the rearview. Asher rips therearview off the windshield. ASHER Faster, asshole. COSTA I'm flooring it. ASHER Shut up. Faster.Costa pulls onto the highway, buckles his safety belt.Asher scoffs at the gesture, then does likewise. ASHER Give me your wallet. Give it over. Right now.Costa does. Asher looks through it, pockets it. Costatries to focus on driving. COSTA Are you going to kill me? ASHER You're goddamn right I am. I've been dreaming about it, John.INT. UNMARKED #2 - MOVING - DAYGrace FLOORING IT. Sails onto the highway. 79.EXT. TWO-LANE HIGHWAY- DAYCosta's unmarked races northward, out of the city.Grace catching up.INT. UNMARKED #1 - MOVING - DAYCosta gets stuck behind a slow-moving truck. ASHER Pass the truck, John. Before I blow your head off! COSTA God help me.Costa swings out to pass the truck.AN ONCOMING TRUCKA head-on imminent. The Buick swerves onto the shoulder.Just missing them.INT. UNMARKED #2 - MOVING - DAYGrace watches Costa's unmarked SCRAPE past the truck. Aside mirror is knocked off.The oncoming Buick swerves back onto the asphalt.Overcompensates, now heading right for Grace...Grace REACTS, swerves.BAM! The cars hit. Grace gets a face full of airbag.EXT. TWO LANE HIGHWAY - DAYGrace's car spins off the road. Stops in a ditch. Abeat. The Buick's hulk blocking the road.Grace exits the unmarked. Dazed but unhurt. She crossesto the Buick. Three HIGH SCHOOL GIRLS are in the car. GRACE Is everyone okay?They seem alright. GIRL #1 Yeah. (CONTINUED) 80.CONTINUED: GIRL #2 I think so. GIRL #3 Omigod, I have to call my mom.A POLICE CAR SCREECHES to a stop. Then another POLICECAR. Grace runs to one of the police cars. GRACE They're okay. Let's go. (points up the road) He just shot a cop.Grace jumps in the passenger seat. The COP looking ather. GRACE Let's go. Bad guy's that way.The Cop nods, PUNCHES IT.INT. UNMARKED #1 - MOVING - DAYCosta is driving towards the mountains. Driving throughthe pine forest. ASHER There. Turn there.A hard-to-see side road. Costa JAMS the BRAKES to makethe turn. Asher SLAPS him. ASHER Careful. COSTA Okay. Sorry. Sorry. You don't want to do this. ASHER Yes I do. John, do you have any idea how many people I have killed? It's always been business. This time is personal. COSTA Please be cool. C'mon, we don't even know each other. (CONTINUED) 81.CONTINUED: ASHER Shut up. Art Man. You are stupid or crazy or both. Will you drive faster? I'll shoot you in the thigh. Will that get your attention.Costa speeds up. COSTA Don't, man. I got money. You want money, I'll give you money. I got paintings. What do you want? Talk to me, Martin. ASHER I am not Martin. There is no Martin. COSTA Of course. No Martin. What do you want? What's my life worth to you? ASHER Nothing. And everything. This is deeper than money. Shut up. Talk is done. Talk is over. Understand that. You are over. Just shut the fuck up.Asher lights a cigarette. A sharp turn ahead. Costaspeeding up. COSTA Okay, please, Martin. Martin. Be cool.Asher aims his pistol at Costa's head. ASHER (really pissed) Who the fuck is Martin?Costa sets his brow in determination; he is drivingstraight at a large tree...Asher REACTS.Costa jams his thumb into the release button of Asher'sseatbelt...Asher angrily pulls the trigger of his pistol. (CONTINUED) 82.CONTINUED:The unmarked car hits the tree...POW! Airbags deploy.Costa's body is slammed by crash forces but stays put...Asher goes over his airbag. Asher's head goes throughthe windshield.INT. POLICE CAR - MOVING - DAYThe Cop GUNS it into the mountains. A fork in the road. COP Which way do I turn? GRACE Which way's the river? Go to the river.The Cop makes a right.EXT. FOREST CRASH SITE - DAYOil smoke and steam pour from the unmarked #1. Costa isalive, cut bad. He looks at Asher. COSTA Rot in hell, Martin Asher.INT. UNMARKED #1 - COSTA'S POV - DAYAsher's head is stuck through the windshield, his throatcut bad by glass. He's alive. Asher panic-sucks deepbreaths.EXT. FOREST CRASH SITE - DAYCosta undoes his safety belt. Grabs the door handle.The door pops open.Costa pulls himself from the wreck. Flames spread underthe car.EXT./INT. UNMARKED #2 - MOVING - DAYThey race along a mountain road with a view of the St.Lawrence River below. They can see far up the road, nosign of the unmarked #1.Grace looks behind them, reacts. 83.EXT. HILLSIDE ROAD - GRACE'S POV - DAYA COLUMN OF SMOKE rises from behind a ridge.INT. UNMARKED #2 - MOVING - DAY GRACE (subtitled French) Turn around.EXT. FOREST CRASH SITE - DAYCosta lays by the road. Motionless, he may be hurt bad.UNMARKED #1is now Martin Asher's funeral pyre. Flames engulfeverything. Even the glass is melting.BOOM! A TIRE EXPLODES.Costa stirs, crawls on his hands and knees, into the roadaway from the wreck.POP-POP-POP! AMMUNITION in the unmarked EXPLODES fromthe heat.A police car arrives. SCREECHES to a stop alongsideCosta.Grace leaps from the passenger side. She grabs Costa,helps him into the back. POP-POP-POP! More AMMO COOKINGOFF. GRACE Let's go!INT. POLICE CAR - MOVING - DAYThe Cop backs up fast. BOOM! Another tire. Now thetree has caught fire.Grace examines Costa, running her hands over Costa'sbattered body. GRACE Nothing broken? COSTA I think my hand is broken. (CONTINUED) 84.CONTINUED:Grace looks at it. There is no doubt. GRACE Don't move, okay.Presses his split scalp. GRACE This hurt? COSTA God yes. Stop that. GRACE You're going to the hospital. You'll be fine. COSTA Is he dead? GRACE Very dead.Costa relaxes significantly. He realizes Grace isholding him in his arms. So does Grace. It feels good.A FIRE ENGINE heading to the crash passes them.EXT. FOREST CRASH SITE - DAYCrime scene tape. POLICEMEN form a perimeter. The fireis out. A Fire Truck pumps water for a three-man HOSETEAM cooling the hot metal. A plume of steam rises upthe scorched tree trunk.The car is nothing more than blackened sheet metal.Asher has been reduced to a charred torso.INT. HOSPITAL - DAYReynaud sits by himself, his head between his knees.Mourning Laval, dead on a nearby gurney. Director Gilletcrosses to him. Lays a comforting hand on Reynaud'sshoulder. Reynaud sees who it is, stands crisply, wipeshis tears, embarrassed. INSPECTOR REYNAUD I am sorry, sir. (CONTINUED) 85.CONTINUED: DIRECTOR GILLET Please, Jean. I called your wife. I'm having someone take you home to her. There is nothing left to do here.Reynaud doesn't want to leave his dead comrade. DIRECTOR GILLET I'm ordering you home.Reynaud acquiesces. A Uniform escorts him out of there.Director Gillet crosses to Grace, who was watching him.She sips coffee, an icepack on her ankle. GRACE You're really good with people.Gillet shrugs. DIRECTOR GILLET How's Mr. Costa? GRACE He got off light. With a broken wrist and fifty stitches. Lucky man. DIRECTOR GILLET My luck has run out. Until today I have never had to bury a friend.Grace squeezes his arm. GRACE I'm sorry, Director. DIRECTOR GILLET Thankfully it's over. We have our man. Asher's DNA matched the hairs recovered on Ford's body and in the apartment.INT. HOSPITAL - EXAM ROOM - DAYCosta's scalp is being stitched shut. Costa's wrist isin a splint. She watches the DOCTOR sew flesh for abeat.A KNOCK. Grace enters. Grace smiles warmly at Costa. (CONTINUED) 86.CONTINUED: GRACE Hey. COSTA Hey. (winces) Ouch, Doc. That's not rawhide. DOCTOR I'll inject more anesthetic.Grace leans against the wall, smiles. GRACE You okay? COSTA I'm okay. Thank you for rescuing me. GRACE Anytime. Do you know where he was taking you? COSTA To my grave. He was going to kill me. GRACE It's over. (a beat) Let me take you out tonight. Let's have some fun. I owe you that. COSTA What's fun for you? You want to go to the shooting range or the morgue?Grace is hurt by that. COSTA I'm sorry. GRACE It's going to take a couple days to depose you and get a full statement. I thought you might enjoy a break before you have to... COSTA I know a place. You drive. 87.INT. SUPERKOOL LOUNGE - NIGHTUltra mellow. Grace and Costa chill on throw-pillows andtapestries. Persian trip-hop and hookahs.Grace and Costa have melted into a corner where they siptea. Nobody has been more comfortable. Costa pours beerfrom a pitcher. COSTA I'm happy to be alive but it's like this door has been opened. I don't think I was naive. But everything is different now. GRACE You'll fold this experience into your life and be stronger for it. COSTA How do you deal with it? All the misery and pain and violence. GRACE I can stop monsters, John. And because I can, I have to. COSTA So is it a calling or a curse? GRACE Neither. It's just my job. COSTA When I was in med school I saw a guy on a Harley get T-boned by a Daihatsu. He was screaming in pain and needed help and I knew what to do, I had all my certs, but I saw all this blood and froze. I failed the big test. Bye-bye, med school. Hello, graphic design. GRACE Roy Wilson. COSTA The man on the Harley.Costa REACTS. Sighs. COSTA So you knew about that. No wonder you knew what to say to keep me cooperating. (CONTINUED) 88.CONTINUED: GRACE You're a sharp one, John Costa. COSTA You threw me in a tiger cage like a piece of meat. GRACE That's right. You were the cheese in the trap. We stopped a monster. That's what matters.Grace is utterly unapologetic. It makes Costa like hereven more.INT. HOTEL ROOM - NIGHTGrace is in manic cleaning mode. She pulls papers offthe walls. Shoves a pile of clothing in the closet.Sweeps coffee cups into a wastebasket.She opens the door for Costa. He enters. The room isstill a mess, but it feels safe, cozy. GRACE I'm sorry. I'm a pig. COSTA I don't trust anyone who's too organized.Grace puts some MUSIC ON the CLOCK RADIO. GRACE Want a beer? COSTA Please.She grabs a couple cold ones from the mini-fridge. COSTA Which is it, are you a runner or chaser? GRACE What's that mean? COSTA People like you -- GRACE People like me? (CONTINUED) 89.CONTINUED: COSTA Yeah, people like you. Hardcore. Gung-ho people like you. And you know what I mean. People like you are either runners or chasers.Grace looks at Costa. GRACE You are a trip, John Costa.He's not letting her off the hook. She plays along. GRACE Okay. I guess I'm running and chasing.Costa REACTS. COSTA I'm sorry. I didn't know. GRACE Growing up I quit speaking after that. I didn't say a word for three years. When you're not in the conversation, you get forgotten real quick. So I'd watch people. Study them. The mouth can say anything, but the body doesn't lie. The tilt of the head, the way the hands move.Grace draws closer. Costa watching her mouth. COSTA How'd you get your voice back? GRACE The day my Uncle died. The truth exploded out of me like a vision. My Uncle and Father had been arguing, there was a gunshot and my father was dead. COSTA You are very intense, you know that? GRACE I remember my Uncle telling me not to say anything. And I didn't. (MORE) (CONTINUED) 90.CONTINUED: GRACE (CONT'D) I made myself forget why. The day he died my voice and my memory came back. I screamed for an hour. Very primal. I haven't shut up since. COSTA Why did your Uncle do it? GRACE Land. Great-grandpa owned half of Pennsylvania. My Uncle wanted control and sold it all. All that's left is an old farmhouse and a horse pasture. (sadly) My father's murderer got away with it because I couldn't open my mouth. COSTA That's a hell of a lot of responsibility for you to put on the shoulders of an eight-year-old girl.Grace blinks, looks at Costa. That's exactly what sheneeded to hear. GRACE Something good game out of it. The dead can't speak. Now I'm their voice.Costa cups her face and kisses her. Grace breaks away, alittle hesitant. Something is bothering her. GRACE Martin Asher is dead, right?Costa REACTS. COSTA Can we please forget about him? GRACE That's the point. He's dead, so there won't be a trial where you or I would have to admit under oath that we did anything inappropriate. (CONTINUED) 91.CONTINUED: COSTA We haven't done anything.That's about to change. Grace stands, pulls him off thecouch. Begins undressing him.She finds horrible dog-bite scars. GRACE Jesus. COSTA In college we tried to make my friend's German Shepherd take a bong hit. GRACE How mean. Serves you right.Costa pulls Grace to her feet.Grace retreating. Step by step across the room. Costa.Pursuing. Slowly. Determined. The heat. The immediacybuilding.Costa grabs her. Pushing her. Up against the wall. Thephone CLATTERS to the floor. Grace's eyes widen.Two mouths. Inches apart. Costa's hand reaches up herskirt. Exploring. Grace swallows. His hand reachinginto her panties.Grace's eyes looking away. As she grabs his arm.Pulling. Pushing. Wanting. Her mouth. Avoiding his.Their breath mingling. Until. Costa's lips crush downon hers. The kiss devouring. Knocking pictures off thewalls. Grace's hands pulling him closer.Costa picks her up. Throws her on the bed. He tears ather blouse. Her white lace bra. Grace's back arching.Her legs wrapping around him. As her eyes flutter open.Looking up at the ceiling, she gasps.Costa stops. Turns. To see what she's looking at.Surprised to see pictures of Asher's victims, the crimescenes. Staring down at them.Costa turns to Grace, whispers. COSTA Let them watch.Grace looking deep into Costa's eyes. Nods her head.Costa flips her onto her stomach... 92.INT. HOTEL ROOM - DAY (5:41 A.M.)Grace and Costa spoon. Grace stirs. Kisses the back ofCosta's head. He's utterly still.INT. BATHROOM - DAYGrace enters, groggy. Turns on the sink. Flips on thelight.Grace reacts, stumbles back.She's covered with blood. Grace panics, feels herselffor wounds.INT. HOTEL ROOM - DAYGrace shakes Costa. Tears well in her eyes. GRACE John. John.Costa stirs. COSTA Mmmmm. Morning.He sees the blood. Doesn't really react. COSTA My stitches must have ripped.Grace hands him a towel. Presses it against hisshoulder. GRACE I thought you were scared of blood? COSTA You better take a shower.INT. AUTOPSY ROOM - NIGHT (4:30 A.M.)Mrs. Asher looking at Martin Asher's remains. Thecharred torso, blackened thighbones.Mrs. Asher reaches for Asher's red swollen face. MEDICAL EXAMINER Please don't touch the remains. (CONTINUED) 93.CONTINUED:She gives him a withering look. MRS. ASHER Nineteen years ago I stood in this same room and your predecessor showed me a washtub full of blood and guts and told me it was my son. I will touch anything I want, Doctor. I'm not going through this a third time.He hands her a pair of rubber gloves. Mrs. Asher SNAPSthem on, she reaches for an eyelid, peels it back.Stares into the clouded eye. Mrs. Asher REACTS, quicklywithdraws her hand. MRS. ASHER It's not him. That's not my blood. You people are incredible.The Medical Examiner SIGHS, thinks she's a kook. MEDICAL EXAMINER I'll swab your cheek and test your DNA against the body. Will that do it? MRS. ASHER Good idea, Doctor. He's smarter than all of you, do you know that?INT. EXAM ROOM - DAYThe Doctor staples Costa's scalp. COSTA Is that going to hold? I'm not coming back.Grace enters, in a serious mood. COSTA What's wrong? GRACE That was my boss. I'm going back to Quantico tomorrow.Suddenly that seems like the end of the world. Costalooks at her. (CONTINUED) 94.CONTINUED: COSTA Washington, DC has some of the best art in the world. Georgetown would be a great place to open a gallery.Grace realizes what he's saying. Smiles. GRACE Staple his mouth too, Doc.Grace's CELL RINGS. She exits to take the call.INT. HOSPITAL - HALLWAY - DAYGrace leans against a wall. GRACE Vanderholt. MEDICAL EXAMINER (V.O.) Grace. I ran Mrs. Asher's DNA against the suspect down here. No way it's her son.A beat. GRACE Not her son? You're sure? MEDICAL EXAMINER (V.O.) Lab ran the test twice. GRACE That's weird. Was he adopted, switched at birth? MEDICAL EXAMINER (V.O.) Listen for a minute. There was a match. John Costa is Mrs. Asher's biological son.Grace laughs. It's a joke. GRACE So John Costa is really Martin Asher? MEDICAL EXAMINER (V.O.) Dear God, I wish I was joking.Grace turns and REACTS. (CONTINUED) 95.CONTINUED:Costa has been standing there. Listening. He tries toread Grace's expression, worry etching his face.Grace is looking at Costa, her mind racing a millionmiles an hour.Grace's world crumbles as she puts it together. GRACE Are you Martin?Costa gasps. The very thought is painful. COSTA Grace, I'm John. Okay? I'm John.Costa hoping against hope everything is okay. But it'snot okay. Grace has a calamitous expression. GRACE Holy shit.Costa takes a step toward her. The street cop motionsfor Costa to stay back. Costa REACTS.INT. HOSPITAL - COSTA'S POV - DAYGrace's purse sits on a chair in the exam room. Herpistol visible.INT. HOSPITAL - HALLWAY - DAYCosta takes the gun from her purse, pockets it, alongwith her FBI credentials and car keys.Costa backs away from Grace.Costa's physicality transforms from hip art dealer tosomething much more menacing. The monster Martin Asher.Grace looks him dead in the eye, more angry than scared.(NOTE: Costa will now be called ASHER.) ASHER She screwed it up, didn't she? GRACE Who? (CONTINUED) 96.CONTINUED: ASHER I should have cut her throat when I saw her on the ferry. That's the least she deserves. Please don't do anything, Grace. It would hurt me so much if I had to hurt you. GRACE Good idea. Don't hurt me.Costa shakes his head, his brow set with a grimdetermination. He turns, enters a stairwell and exitsthe building. Grace's heart is breaking. GRACE Shit!She kicks the wall and gives chase, runs into thestairwell.EXT. HOSPITAL - DAYAsher gets into Grace's unmarked. And drives away.Grace exits the building, watches him go.Grace has no way to follow. Then...She sees a COP talking to a cute NURSE by his patrol car. GRACE Police emergency. We need to pursue him. He's a murder suspect.The Cop cocks his head, looks at Grace like she's anutcase. Grace dials her cell phone. GRACE Director Gillet, there's an emergency, can you please tell this officer to cooperate with me?Grace hands the cell phone to the Cop.EXT. NICE HOTEL - DAYA patrol car stops in front. Grace leaps out and runsinto the building. An Unmarked pulls up. Reynaud jumpsout and enters the building. 97.INT. NICE HOTEL - HALLWAY - DAYGrace running. Reading room numbers. Reynaud appears inthe hall.Grace finds the right room. Reynaud joins her, gundrawn.The door is ajar. Grace pushes it open.INT. HOTEL ROOM - GRACE'S POV - DAYA MAID changes the sheets. Mrs. Asher is gone.INT. ASHER HOUSE - DAYMrs. Asher answers a KNOCK at her door. Mrs. AsherREACTS. ASHER Hello, Mother.Asher forces his way inside. Mrs. Asher SCREAMS.EXT. HIGHWAY - DAYSIRENS SCREAMING, flashing lights as six police cars zipby at 90.INT. UNMARKED - DAYGrace over the shock and harder than steel. Reynauddrives fast. Grace on her cell. GRACE No answer. She turns her phone off.INT. ASHER HOUSE - LIVING ROOM - DAYMrs. Asher sits on her couch. Asher stands. The teenyDoberman walks into the room, sniffs Asher. ASHER What happened to Rex? He was a real dog, right, Mom?Rolls up his sleeve, revealing the dog bite scars. (CONTINUED) 98.CONTINUED: MRS. ASHER Don't show me that, Martin. I had Rex put down after you ran away. Martin, sit.Asher looks at her defiantly. Mrs. Asher stands, gets inhis face. MRS. ASHER How dare you defy me. You will sit down on that couch and you will do it now. Martin.Asher sits. Mrs. Asher lays a hand on his, leansforward, her eyes intense and earnest. MRS. ASHER Martin, you have severe emotional problems. I know you're in a lot of pain. There's hope and help, Martin. Look at me, Martin. I love you very much. MARTIN I know now that what you did to me was not love.INT. ASHER HOUSE - LIVING ROOM - DAYAsher sitting on the couch. Then stands. ASHER I'll stand if I want to stand. I can do anything I want to do. And I've done some great things, Mother. I'm not a scared little boy you can push around anymore.NEW ANGLEMrs. Asher's head neatly adorns a silver platter.INT. POLICE CAR - MOVING - DAYGrace holds on as Reynaud slaloms around a corner inAsher's neighborhood. INSPECTOR REYNAUD I hope the son of a bitch doesn't shoot me with the gun you gave him. What else did you give Asher? (CONTINUED) 99.CONTINUED:An accusing look. GRACE Shut up and focus. That kind of shit helps no one right now.EXT. ASHER HOUSE - DAYReynaud's car SLIDES to a stop. Police cars takeposition around the block, forming a perimeter around thehouse.Grace and Reynaud exit the car. Grace has a shotgun.Four UNIFORMS, also with shotguns, join them.The ad hoc entry team runs up the steps, onto the porch. GRACE Get right, I got left.WHAM! Reynaud KICKS the door. Grace is first in.INT. ASHER HOUSE - DAYGrace, Reynaud and the four Uniforms enter. Weaponssweep for targets and clear sectors.Grace moving down the hallway. Slowly, breathing hard.INT. ASHER HOUSE - LIVING ROOM - DAYGrace enters, approaching the couch. SOMEONE is there.Grace sidesteps quickly, raises the shotgun. GRACE Don't move!It's Mrs. Asher. Sans head, sitting on the couch. Graceturns away, REACTS.She sees Mrs. Asher's head. GRACE Omigod.Reynaud enters. Sees Mrs. Asher's head. INSPECTOR REYNAUD He's gone.Reynaud looks at Grace. Grace feels hollow, miserable. 100.INT. HOTEL ROOM - DAYGrace's hotel room is now a crime scene. CRIMINOLOGISTSprocess the scene. The sheets are bagged as evidence.ANGLE ON GRACEwatching this. Reynaud crosses to her. SLAPS her. INSPECTOR REYNAUD My best friend died protecting a serial killer so you could get laid. Very nice.Grace REACTS. The cat is out of the bag. GRACE That's none of your business. INSPECTOR REYNAUD No? It's my case. GRACE Back off, Reynaud. Asher fooled you too. INSPECTOR REYNAUD At least I didn't fuck him.Grace walks off. Reynaud intercepts her. GRACE Touch me again and I will kick your ass. INSPECTOR REYNAUD I am taking you to the Director.INT. DIRECTOR'S GILLET'S OFFICE - DAYGillet sits at her desk across from Grace. His eyes areharder than normal. DIRECTOR GILLET They're on their way from the airport.Grace nods, chews a nail. DIRECTOR GILLET Your old life is over. There is no going back. (CONTINUED) 101.CONTINUED: GRACE I know. DIRECTOR GILLET You're still young. Whatever happens, be strong. (beat) Where is he, Grace? How do we find him? GRACE Director, I'm the last person you should be discussing the case with at this point. DIRECTOR GILLET Grace. You know his mind, and his heart. Where is he?A beat. GRACE Not here. This city no longer has the psychic gravity to hold him here. Try Mexico, getting a facelift. DIRECTOR GILLET We ID'd the remains in the morgue. The real ID.He hands her a picture of the man whom we thought wasAsher. GRACE (reads) Richard Hart.FLASHBACK - INT. HART'S APARTMENT - DAYHart rolls painting canvases into a tight cylinder.Inserts it into a fancy lamp. A hypodermic stands by toreward his work. DIRECTOR GILLET (V.O.) He was an addict. And a thief. An art thief. He hits galleries in Europe and North America. Traveled back and forth smuggling and selling stolen canvasses. 102.INT. DIRECTOR GILLET'S OFFICE - DAY (PRESENT)Grace puts it together. GRACE Let me guess, Costa was selling stolen art for Hart and never gave him the money. Now Hart is just another one of Asher's victims.Director Gillet. DIRECTOR GILLET Costa owed him eight thousand. Those are E-mails off Hart's computer. GRACE (reading) Go to hell. I won't pay you a dime. I'm not scared of you.FLASHBACK - INT. INTERNET CAFE - NIGHTRichard Hart checks his E-mail and nearly has a heartattack. GRACE (V.O.) Come and get me. I will never pay you, dumbass. (thinks a beat) Asher taunted Hart into a confrontation. Jesus. It was right there in my face. I was interpreting behavior from two different suspects.BACK TO SCENE (PRESENT) DIRECTOR GILLET He had us all fooled, Grace. All of us. If Asher can do that, what else can he do? GRACE Anything he wants.KNOCKING. Gillet stands, crosses, opens his door. TwoFBI SUPERVISORS enter. Grim, silver-haired. Gracestands. GRACE Ah, the undertakers have arrived for my career. (CONTINUED) 103.CONTINUED:Grace hugs Gillet. And the FBI Men escort her out ofGillet's office.INT. FBI CONFERENCE ROOM - DAYGrace is on the spot. Her LAWYER by her side.Facing a panel of seven SENIOR AGENTS. Microphones,water pitchers. SENIOR AGENT Have your rights been explained to you and has an indication to that effect been made in your employee record? GRACE Yessir.INT. FBI CONFERENCE ROOM - NIGHTGrace is exhausted, but holding up well. The questionsdon't stop. SENIOR AGENT Agent Vanderholt. Why would Asher kill Ford, if nobody knew he was Costa. If he wasn't going to use Ford's identity? GRACE He needed a murder he could link not only Richard Hart to but also to his past victims.FLASHBACK - INT. HART'S APARTMENT - DAYUpscale Euro-hip. Hart SLAMS down the phone. Shoves agun in his belt and exits. GRACE (V.O.) Hart's behavior was consistent with a disorganized drug addict following the rules of the criminal road by attempting to kill a debtor who won't pay. He had no idea he was being manipulated by a serial killer. 104.INT. HART'S APARTMENT - NIGHTAsher enters through the front door. Hart isn't home.INT. HART'S BATHROOM - NIGHTAsher steals floss from the garbage can. Takes Hart'stoothbrush. Some dirty laundry. GRACE (V.O.) Asher wasn't becoming disorganized and decomposing into madness, he was evolving.EXT. PARKING LOT - NIGHTAsher, his face obscured with a sweatshirt hood, pullsTodd Ford from the trunk. GRACE (V.O.) The Ford murder was staged and I missed it. Asher drove Ford's car there with Ford unconscious in the car. Ether maybe, GHB. Something that disappears. Asher works out, heads to the parking lot. Pulls Ford out of the trunk. And strangles him. He left a couple of Hart's hairs on the body.Asher leans over Todd Ford, strangling the unconsciousman with the garotte.Asher places a couple of Hart's hairs on the body.INT. INTERROGATION ROOM - NIGHTAsher drawing the sketch of who we now know was Hart. Isthat a sly grin Asher has? GRACE (V.O.) He draws a nice portrait of Mr. Hart and he's now inside the heart of Montreal PD's investigation.INT. ASHER'S APARTMENT - DAYIn the bathroom, Asher, wearing surgical gloves, placesHart's comb in the medicine cabinet. Puts Hart's trashin the wastebasket. (CONTINUED) 105.CONTINUED: GRACE (V.O.) Evidence at the Ford crime scene led to an apartment with more of Hart's DNA. And evidence linking Hart to Asher's crimes. Hart never set food in that apartment. Asher staged everything.EXT. FESTIVAL STREET - NIGHTGrace chasing Hart. SENIOR AGENT (V.O.) Mr. Hart, not Asher, murdered the Montreal Inspector, correct? GRACE (V.O.) Yes. Hart thought Costa was systematically destroying his life. Hart's violent explosion was inevitable. SENIOR AGENT (V.O.) How could Asher plan on Hart snapping like that? GRACE (V.O.) He couldn't. My guess is Asher intended to kill Hart and make it look like suicide. The authorities would find the body and close the Martin Asher file.INT. FBI CONFERENCE ROOM - THE NEXT DAY (PRESENT)Things are wrapping up. SENIOR AGENT This ethics panel has no choice but to recommend terminating you for misconduct. Do you wish to make a statement?Grace shakes her head: no. SENIOR AGENT Please speak up for the record.Grace leans into her mike. GRACE No. I have nothing to say. 106.INT. FBI BEHAVIORAL SCIENCE UNIT - DAYGrace does the walk of shame in front of her formerCOLLEAGUES. She carries a cardboard box full of personalstuff from her office. Two GSA POLICE escort her.EXT. QUANTICO PARKING LOT - DAYGrace heaves the box into the back of her Audi. A GSApolice car stands by.DICK COLTON, her ex-boss intercepts her before she getsin. COLTON Grace. This is a bitter loss to the unit. GRACE You'll manage. COLTON Want some good news? RCMP closed their investigation and the Minister isn't indicting you. This could have been a real train wreck for you, Grace. GRACE It wasn't?Grace gets in her car. COLTON No one has any clue where Asher is. That son of a bitch might fixate on you. Please watch your back, Grace. GRACE I'll dig a hole and hide in it. COLTON Don't fade away, Grace. You're still my friend, okay?Grace pulls out. Heads for the road that will take herout of Quantico.EXT. RURAL HIGHWAY - DAYGrace has the top down. The WIND snatching papers fromher box. Grace doesn't care. 107.INT. ECONOMY MOTEL - NIGHTGrace watches TV in the dark. Drinking a beer.Her CELL RINGS. Grace looks at it. Sees OUT OF AREA onthe caller ID. She answers. GRACE Hello? ASHER (V.O.) I'm sorry. I'm sorry you lost your job.A beat. Grace grabs the big .45 by her thigh. ASHER (V.O.) Hello? GRACE I'm here. ASHER (V.O.) I miss you. GRACE Why don't you come and see me. I miss you, too. I'm at the Gainesville Virginia. The Motel 6 off Highway 29. Stop by.There is a strange tension in her voice. She hangs up.Turns off the TV. She gets off the bed, crosses to acorner. She sits, settles in for a long vigil.INT. ECONOMY MOTEL - DAYThe rising sun reveals Grace has not moved. She is nowrealizing Asher isn't going to show. Grace drops the .45and begins to cry.EXT. MEDICAL CLINIC - DAYGrace exits the clinic reading a test result. Shefreezes in her tracks, returns inside.INT. WAREHOUSE STORE - DAYGrace shopping. She has a quarter ton bag of dog food.Gallons of spaghetti sauce. Stocking up. 108.EXT. WAREHOUSE STORE PARKING LOT - NIGHTWintertime. It's an ice storm. Freezing rainaccumulates on existing snow and ice. Grace loading hersupplies into her truck. It's miserable out and gettingworse.HONKING. Grace turns to watch a car slowly slidinghelpless across the ice. It stops just short of hittinga parked car.INT. POST OFFICE - NIGHTTen minutes later Grace checks her P.O. Box. Finds somebaby catalogs. A local PREGNANT WOMAN enters. PREGNANT WOMAN Wow, you know the question? GRACE Six months.WIDER TO REVEAL:Grace is very pregnant. PREGNANT WOMAN That's it? GRACE Twins. PREGNANT WOMAN Good luck, sweetheart. Get yourself home, it's miserable out.Grace smiles, exits.EXT. OLD PRIVATE ROAD - NIGHTOld and falling apart. Overgrown with branches. Thewind picking up. Grace's truck slowly navigating theice. The only vehicle around.INT. GRACE'S TRUCK - MOVING - NIGHTThe accumulating ice is beautiful but deadly. Gracedrives with extreme caution, picking through the ice inlow gear. She drives around a fallen tree branch. (CONTINUED) 109.CONTINUED: RADIO ANNOUNCER (V.O.) The State Police have said to stay off the road unless it's an absolute emergency. Several of their cruisers have already been damaged. There is ice everywhere. On the way in tonight I saw the snowplow slipping and sliding. Everybody, stay where you are. This is only the beginning.Grace turns OFF the RADIO. Turns on the defroster.SOMETHING MOVING.WHAM!Her WINDSHIELD SHATTERS. Grace REACTS.A tree branch overburdened with ice has fallen on hertruck.The truck slides across the ice. Grace fights to regaincontrol, to keep it out of the ditch.Grace stops. Gets out. Pulls the branch off the hood.EXT. OLD FARMHOUSE - NIGHTThe last remnant of the once-proud Vanderholt holdings.Grace pulls open a large garage door.Assaulted by rain and sleet. She slips on the ice.Regains her feet, finishes opening the door.She gets back in her truck and parks it inside the garage.INT. OLD FARMHOUSE - DAYRestored. Filled with family heirlooms. Another familythat has decayed from glory.Grace enters. Dripping wet. She turns OFF the ALARM.Then hangs up her heavy jacket. Bone tired.Grace crosses to the kitchen.INT. OLD FARMHOUSE - KITCHEN - NIGHTGrace takes a Glock from her pocket and sets it on thecounter. She pours water into a kettle. (CONTINUED) 110.CONTINUED:Puts the kettle on the stove. Turns on the stove. Gracenotices water on the kitchen floor. Wait. Wetfootprints.Grace REACTS. Reaches for the Glock.A hand lands on top of her hand. It's MARTIN ASHER. ASHER Hi, Grace.CLICK! He snaps a handcuff around Grace's wrist.Asher has the upper hand, he spins her, pulls her downinto a chair. She throws a punch. Asher blocks it.Asher yanks on her cuffed arm. SMACK! Grace slaps him.Asher pulls her into a chair. CLICK! Grace is nowcuffed to the chair. She struggles futilely against thecuffs.Asher catches his breath. ASHER Knock it off. You're not going anywhere.Grace stop struggling. Asher looking at her huge belly. ASHER I'm not going to hurt you. GRACE You're so full of shit your eyes turned brown.Asher is happy to see her. ASHER They're contacts. You're glowing.Grace looking at him. Still astonished to see him. Herarms behind her back, her belly is so vulnerable. GRACE How the fuck did you find me? ASHER You told me everything I had to know. (CONTINUED) 111.CONTINUED: GRACE Get it over with. Just get it over with. ASHER Ever since I met you, you're all I can think about. I had a way of life. And I can't go back to because of you. I want you in my life, Grace. Please listen to me, Grace. I have a proposal.Asher takes out a couple passports, a pair of driver'slicenses. ASHER You become her. I become him. We are married, see?Asher slides a woman's wedding ring across the table.Already inscribed. ASHER We have the babies. We raise them. However you want. I just want to be with you.Grace looking at Asher, not sure whether to laugh outloud or start crying. He seems edgy; he needs herdecision quick. GRACE What happens if I don't want to assume this woman's identity and raise my babies with a serial killer? ASHER Grace, don't be morbid. If anyone can deal with this, you can. I know you felt what I felt. It's real. GRACE Answer my question. ASHER I'll shoot you in the head and burn this place down.Grace reacts. She can respect that. Grace looking atAsher. He's scary, feeding off some fantasy about her. (CONTINUED) 112.CONTINUED: GRACE You'll do what you have to do. I can respect that. How do you know it's still real? Maybe it's gone. What we felt.Grace tilts her lips, looking in his eyes. Asher leansover to kiss her. Slow, delicate. Asher kneels besideher, the kisses become hungry, desperate.Grace's eyes are so open, so vulnerable. GRACE God, I missed you so much.Asher leans in to kiss her...Grace head-butts him. CRUNCH! Smashes his nose.She drives her feet down and her shoulder into his chest.Asher, already on his knees, falls back.Grace scrambles over him, gets out of the chair. Sheshoulders over the kitchen table...There is a holster mounted underneath the table.Grace turns her back so she can grab the gun from it.Grace REACTS. There is no gun in the holster.Asher looking at her, matter of fact: ASHER I searched everything.Asher stands, reaches for the Glock on the counter.Grace can't let him get it. She lunges at Asher,collides into his knees, hurting him. ASHER Damn you!Asher grabs a large knife from the butcher's block.THWACK! Plunges it into Grace's belly.Grace GASPS, looking at the knife embedded in her stomach.A beat as Grace and Asher stare at the knife.Grace uses the pause to kick away from Asher. She getson her feet and runs from the kitchen. 113.EXT. OLD FARMHOUSE - NIGHTGrace exits the kitchen door, running with her handscuffed behind her. Running for her life.She runs for the nearby woods. Her shoes CRUNCHINGthrough a layer of fresh ice over old snow. Fighting forbalance.POP-POP-POP! Asher OPENS FIRE on her from the house.BULLETS HIT the ice around her.Grace runs into the woods. Branches sheathed in ice.Smacking her face.Asher exits the house, FIRING -- POP-POP-POP-POP!BULLETS EXPLODE the ice around Grace. She dives to theground. She takes the opportunity to move her handcuffsfrom behind to in front.She unties and removes the heavy prosthetic belly shewears. Grace is not pregnant. She pulls the knife out.Grace runs deeper into the woods.Asher running in the woods behind her. The gun in hishand at the ready. Asher is hunting. He intends to killher. ASHER Keep fucking running, Grace, you're only going to die tired!ON GRACERunning. Batting away ice-covered branches. Drenchedwith sleet. Hypothermic conditions.EXT. OLD PRIVATE ROAD - NIGHTGrace emerges from the woods. Running along the icyroad. She slips and falls. Cuts her hand on the ice.Grace stands, and keeps running, her hand bleeding, theknife getting slippery.ON ASHERGaining on her. Grace slips again, scrabbling on theice, trying to keep moving. A slow motion nightmare.Here comes Asher. No mercy. He aims the gun at herface... (CONTINUED) 114.CONTINUED:Grace raises her hands to protect her face...POP! Asher FIRES. DING! The BULLET intended forGrace's forehead hits the knife -- RICOCHETS into thetrees.A beat. Grace looking at the now-creased knife.Asher's gun is out of rounds. The slide is locked backon an empty chamber.SWICK! Grace slices Asher's legs with the knife. Sliceseach shin deeply. ASHER Shit!Asher kicks the knife from her hand. Then kicks her inthe face. He tries to kick her again but she grabs hisleg.WHAM! Asher slips, hits the ice hard. Grace is on topof him, wraps the handcuffs around his neck. Wraps herlegs around his body.Grace chokes Asher for all he's worth. His eyes bulge,his face reddens as he meets the same fate as hisvictims. Asher has a seizure as his oxygen depletedbrain dies.Grace doesn't let go. A long death embrace. Finally,when she is sure, Grace releases from Martin Asher'sbody.She checks his pulse. He's dead. Grace stands.The rain falling on her. Ice and moonlight. Grace spitsblood, looks around. Looks at Asher's corpse. GRACE Better you than me, asshole.Walks back toward the house. Alone. Strong. Whole. FADE OUT. THE END \ No newline at end of file