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, 2003
FADE IN:
INT. BUS STATION - DAY
SUPERIMPOSE: 17 YEARS AGO
Small, Canadian, rural. Just the Native American CASHIER
jotting down sports stats from the paper. MARTIN, 16,
enters. Slight, pale and frail, new clothes, a tag still
hangs from his stiff work jacket. Martin stands in front
of 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 twenties
and carefully counts out three. The Cashier gives Martin
his ticket and change. Points at a bus outside. The
DRIVER loading bags.
INT. BUS - DAY
A half dozen PASSENGERS. Martin steps aboard, takes a
seat. 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. Offers
Martin one.
MARTIN
Pisswater.
DAN
At least it's cold pisswater.
Here's to getting away.
They CLINK CANS. The Driver enters the bus. Unlocks the
airbrakes. Puts the bus in reverse, gives it gas.
BOOM! The ENGINE throws a rod. Horrible GRINDING.
Smoke wafts into the windows. The Driver KILLS the
ENGINE. 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 SEES
A car rental place.
BACK TO SCENE
Martin 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 - NIGHT
Dan drives. JOURNEY ON the RADIO. Martin checks out
Dan'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 - DAY
The land rolls endlessly. Martin drives. Dan plays his
guitar. 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 - DAY
The middle of nowhere. Martin flips a coin. Heads.
DAN
Shit.
Dan hauls the spare from the trunk. Sets the jack under
the 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 of
animal feed. Speeding.
Martin looking at Dan's back. Martin shoves Dan hard,
into the highway. In front of:
THE GRILL OF THE PICKUP
WHAM! It plasters Dan. He goes over the hood, SHATTERS
the front WINDSHIELD. Bounces off, spins like a rag doll
into a ditch.
The pickup has lost control, it rolls. Several times, a
heaving mass of steel.
CRASH! The TRUCK folds itself around a husky tree. No
survivors, that's clear.
MARTIN
He can't believe what he has just done. He takes in the
carnage, tugs at his ear.
EXT. MONTREAL - DAY
SUPERIMPOSE: PRESENT DAY
ESTABLISHING the river-bound city. Beautiful.
5.
EXT. ST. LAWRENCE RIVER - DAY
A large Ferry plies the unstoppable waters. Gliding
toward skyscrapers.
EXT. FERRY PIER - DAY
The signs in French. Crowded with PASSENGERS waiting to
board. As more PASSENGERS pour off the just-docked ship.
A WOMAN runs through the crowd. Terror etched in her
face. She knocks aside several PEOPLE. Runs toward a
row of restaurants. Even in her turmoil, she is
patrician, elegant.
EXT. PIER-SIDE CAFE - DAY
Two BEAT COPS eat at an outdoor table. Laid back. The
WOMAN 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 - DAY
An 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 - DAY
Deep woods. In the mountains. Near a roaring river. A
log vacation cabin is being erected by CONSTRUCTION
WORKERS.
A BACK HOE digs a trench. The scoop snags something -- a
wetsuit -- worn by a long dead corpse, twirling slowly,
hanging from the bucket's steel teeth. The BACK HOE
OPERATOR jumps off the huge machine, stares at the
headless body he has just dragged from its grave.
Workers gather and gawk.
WORKER
Someone call the cops.
CUT TO:
INT. TASK FORCE ROOM - NIGHT
INSPECTOR LAVAL and INSPECTOR REYNAUD, rock solid French
Canadians, pin photographs of the body we just saw on the
wall. 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:
DARKNESS
We hear BREATHING and the SOFT RUSH of a RIVER. Soft,
rhythmic. Then FOOTSTEPS.
Two eyes open, reflect moonlight. The FOOTSTEPS drawing
closer.
CLICK! A FLASHLIGHT turns on. REVEALING:
EXT. FOREST CONSTRUCTION SITE - NIGHT
GRACE VANDERHOLT lies in the grave where the body was
discovered. It has been excavated by criminologists, the
soil sifted, the grass and brush removed. Grace sits up.
Grace holds out her FBI creds, shielding her eyes from
the 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 UNIFORMS
guarding the site.
(CONTINUED)
9.
CONTINUED:
Grace lays back down. Sighs. Concentrates on the
sounds. 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. Laval
gestures for them to walk down the road.
ON GRACE
She steps out of the grave. Sits by it. Writes some
notes. 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. Grace
sits by the fire pit.
More HOWLING, CLOSER this time.
Grace looks down river, SEES the glowing eyes of a TIMBER
WOLF staring from a clump of trees. The animal stares a
beat, then runs off. Grace has the chills.
Grace walks quietly toward the trees. Grace just a few
feet away. RUSTLING. She cautiously moves aside a
sapling.
EXT. RIVERBANK - GRACE'S FLASHLIGHT - NIGHT
A TIMBER WOLF nestled amidst the trees gnaws on
something; a HUMAN HEAD.
EXT. RIVERBANK - NIGHT
Grace stands there alone, the wolf is long gone. She
stoops, pushes aside brush. She finds a hollow under
some roots. Grace CLICKS on her FLASHLIGHT.
WHAT SHE SEES
A human skull stares up from the hollow. Picked clean,
weathered.
10.
EXT. DIRT ROAD IN THE FOREST - NIGHT
Laval and Reynaud, and the two UNIFORMS smoke and joke.
A quiet beat as the WIND picks up. Their cars up the
road in the b.g.
SOMETHING MOVES in the woods. Inspector Reynaud draws
his Glock. SHUSHES the men.
A beat. MOVEMENT. Laval signals for the men to spread
out. Holsters are UNSNAPPED. Reynaud is all eyes and
ears as he picks his way toward the trees.
GRACE emerges from the trees, a laser-aiming dot on her
forehead. She REACTS to Reynaud, raises her hands.
GRACE
Don't shoot, I'm on your team.
Reynaud holsters his gun. The men relax. Grace takes
Inspector Laval aside.
GRACE
Call who you have to call. I
found his head.
Laval REACTS.
INT. AUTOPSY ROOM - DAY
Gloved hands carefully remove the skull from a box. The
MEDICAL EXAMINER places the skull on an exam table and
begins cleaning it.
Grace walks around the headless body. The wetsuit has
been 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 a
cop'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 on
the 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 wary
nods. Inspector Laval hands the Medical Examiner a paper
bag 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 tied
to two pieces of broomstick. The Photographer SNAPS some
shots.
The Medical Examiner gingerly untangles the cord.
MEDICAL EXAMINER
Look at this.
Grace crosses, grins. Grace studies the cord, noting the
intricate 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 her
quietly.
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 in
FRENCH at his two-star Inspectors.
INT. TASK FORCE ROOM - DAY
Photos, maps, newspaper articles cover the walls.
Twenty-four Hour News ON a TV. Six DETECTIVES man the
phones. ROOKIES fetch reports, pour coffee.
INT. CONFERENCE ROOM - DAY
The 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 and
Reynaud cross, Laval shows her an artist's sketch of the
victim.
(CONTINUED)
16.
CONTINUED:
INSPECTOR LAVAL
Say hello to a dead man.
INSERT SKETCH: The victim has a deep stare, rugged
features, long hair.
GRACE
Shame. Good-looking guy.
INSPECTOR LAVAL
This is more than we had. Thank
you.
Laval has declared peace. Grace smiles. Reynaud still
keeps his distance.
INT. HOTEL ROOM - NIGHT
A very nice bed and breakfast. Grace enters and finds
her luggage waiting. She loves the room. Antiques, art.
Grace finds a bottle of wine and a note from Gillet. She
smiles. Grace checks the mini fridge; bingo. Cracks a
Moosehead. 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 it
into a picture frame.
INT. TASK FORCE ROOM - DAY
Grace, Reynaud and Laval look through a haystack of
computer printouts for needles of information. Grace
stretches. Grabs a donut from a box. Offers the box to
Laval.
GRACE
Fruit of the Gods. You know you
want one.
Laval gives in, takes a plain cake. She offers donuts to
Reynaud. He rubs his eyes, shoves aside papers, quietly
to 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 - DAY
Locals only. The Inspector's favorite spot, they are
like family here. Grace, Laval and Reynaud at a table in
back. Covered with reports and plates. Grace stops
reading. 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 her
bed, still in her clothes, paperwork everywhere. Case
photos now fill the picture frames, cover the walls, even
on 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's
van. A couple NEWS CAMERAMEN. Grace crossing with
Laval.
Reynaud places a HANDCUFFED MAN in workout gear in the
back of a cop car.
INSPECTOR LAVAL
That's him. He says he saw the
killer.
Reynaud SLAPS the cop car, it quickly drives away. Grace
and Laval arrive at a BODY dressed in sweats. A gym bag
nearby. A pair of UNIFORMS stand guard as a CRIMINALIST
processes the body. Thirty-ish, healthy, his generic
looks marred by bulging, bruised eyes. Face bruised.
INSPECTOR LAVAL
Meet Mr. Todd Ford.
Grace squats by the body. CLICKS on her Mag-Lite and
inspects the victim. Bruises on his neck.
GRACE
He's still warm.
(CONTINUED)
20.
CONTINUED:
Grace shines her flashlight along the corpse. A couple
hairs 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 her
flashlight. The door has been brushed with black print
dust.
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, Reynaud
are 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 - NIGHT
JOHN COSTA, 33, sits at the small table. Glasses,
moppish hair. Laval sits across from him. Costa is
sincere, 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 leans
forward, 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 - NIGHT
Grace 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. A
ROOKIE hands Director Gillet a cup of coffee and a new
dress 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 from
the latest crime scene. She drops it in her computer
bag.
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 - NIGHT
John Costa smiles at Grace as she enters. Sets her bag
on 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 to
Costa.
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 briefcase
with her foot, the evidence bag spills out. Costa
glances 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 softens
a 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 in
earnest.
INT. INSPECTOR'S OFFICES - NIGHT
Grace emerges from the interrogation room. Reynaud hands
her a printout of Costa's school records. Grace checking
Costa'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 - NIGHT
Costa draws with skilled hands, delicate but strong. The
file is ignored.
26.
INT. INSPECTOR'S OFFICES - NIGHT
Grace 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. A
beat.
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 - NIGHT
Costa has finished the sketch. He holds it up to the
mirror, for those he assumes are watching.
REFLECTED in the two-way mirror is COSTA'S SKETCH. Cold
piercing eyes, chiseled features.
The door opens, expecting Grace, Costa is disappointed to
see 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 business
district, eyeballing the arriving OFFICE WORKERS.
EXT. COFFEE STAND (MONTREAL) - DAY
GRACE slams an espresso shot as she reads the Globe.
INSERT HEADLINE: MONTREAL MAN MURDERED OUTSIDE GYM.
27.
INT. MEDICAL EXAMINER'S OFFICE - DAY
This is his personal space, tons of hockey paraphernalia.
A couple tired easy chairs. The Medical Examiner eats a
slice of pizza. Grace studies an evidence bag containing
a 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 - DAY
Reynaud 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 - DAY
Tape still up. The 24 Hour gym is closed for the day.
Grace looking around. Laval studies a shrine of candles
on the sidewalk.
Grace sneaks up on him. She gets real close. Laval
watches 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 and
reaches 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 - DAY
Grace 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 maneuvering
through 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 front
of an apartment building. And gets out. Great driving.
A mere two blocks away from the crime scene. Laval gets
out. Then Grace.
30.
INT. APARTMENT BUILDING - HALLWAY - DAY
An upper floor. Grace, Reynaud and the MANAGER cross to
a door. The Manager studies Costa's sketch of the
attacker.
SUPER
I never met him. We conducted our
business by phone.
They arrive at a door. Reynaud about to knock. Grace
stops 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 kicks
it. Laval is no danger junkie, he's a little hesitant to
enter. Grace gets down low, enters carefully, she knows
what she's doing.
INT. APARTMENT - DAY
It's dark, drawn shades. A small studio. Reynaud and
Grace move tactically with drawn guns. Grace enters the
kitchen. Light smoke.
Reynaud approaches the futon, a person-sized shape under
the blankets. Reynaud whips aside the blanket. Just
pillows.
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 one
lurks 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-eaten
plate 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 looks
out the window, REACTS.
WHAT GRACE SEES
The apartment window has a perfect view of the gym
parking lot where the killing occurred.
BACK TO SCENE
Reynaud 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 medicine
cabinet. A couple hairs entwined in its teeth.
In the kitchen another CRIMINALIST dusts for prints.
Reynaud taking pictures with a large still camera. Laval
KNOCKS 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 mobile
office; it has postage stamps. Postcards. Assorted
stationery, 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 can
tell 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 his
jacket. Begins prying off a door molding. Grace sits at
the 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 hidden
under the molding.
INT. CONFERENCE ROOM - CLOSE ON A TV SCREEN - DAY
Surprisingly clear video shot with a long night-vision
lens. TODD FORD exits the 24 Hour Gym, gets in his car.
WIDEN TO:
The Director, Grace, Reynaud and Laval watch the video on
the TV. Director Gillet turns it off. He is not in a
good 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 - DAY
Director 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 - NIGHT
Grace, Reynaud and Laval have mussels and beer. Laval
watches 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 at
her.
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 - NIGHT
A warm night, people are out. TEENS, COUPLES. Some OLD
MEN argue politics. Grace approaches the gallery, keeping
a 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 ELEGANT
WOMAN. She's laughing, flirting. Costa is making her
laugh.
37.
EXT. ART GALLERY STREET - NIGHT
Grace quickly crosses to the entrance.
INT. ART GALLERY - GRACE'S POV - NIGHT
An OLDER MAN joins them, the woman is his arm candy.
Costa shakes his hand. The Older Man and the Elegant
Woman exit.
INT. ART GALLERY - NIGHT
Grace enters. Costa sees her, REACTS, genuinely glad to
see her. And that throws Grace a beat. She really likes
his 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 - NIGHT
Grace has turned the romantic little room into a cave of
paperwork. Notes and photos cover the walls. Grace
reads a phone bill taped to a lamp. Circles a number
that keeps reappearing.
INT. TASK FORCE ROOM - DAY (6:03 A.M.)
The place is gearing up for a new day. Grace crosses to
where Laval and Reynaud struggle awake with coffee and
the morning paper. Grace takes a seat, grabs the sports
section. 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 and
crosses.
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 to
Grace.
YOUNG DETECTIVE
Agent Vanderholt, a report came
back on the name.
INT. UNMARKED CAR - MOVING - DAY
Laval 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 this
morning.
GRACE
Let me go and be non-threatening.
INT. ASHER HOUSE - DAY
KNOCKING on the front door. The WOMAN from the ferry
answers the door. Her name is REBECCA ASHER. She opens
the door, smiles warmly at Grace.
MRS. ASHER
Hi, please come in. Thank you for
coming.
INT. ASHER HOUSE - LIVING ROOM - DAY
Classy decor. Grace sips Earl Grey. Admires the
impressive 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 a
long 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, so
poised, so tragic. Grace studies her with a critical
eye.
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 - DAY
Grace pokes her head in, looks around. Nothing of note.
INT. MRS. ASHER'S BEDROOM - DAY
The door opens and Grace peers in. Flowing silk, throw
pillows, like a Sultan's tent. Interesting.
INT. THE BOYS' ROOM - DAY
Grace opens the door. Bingo. More LAUGHTER O.S. A bed,
still made. Old toys. Sports equipment. An "R" on the
headboard.
On the other side; shadows on the wall where pictures
used to hang. Indents in the carpet. Where a bed used
to be.
Grace's brow furrows. Martin has been erased.
INT. HALLWAY - DAY
GROWLING. Grace turns. Sees a diminutive DOBERMAN
SNARLING 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 a
deadbolt. The little DOG GROWLING. One deadbolt is
open. CLICK. Grace opens the other one.
(CONTINUED)
45.
CONTINUED:
Grace cracks the door. Darkness, stairs leading to the
basement.
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 - DAY
Grace 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 - DAY
A back hoe rips a bucket of earth from amidst the graves.
A couple UNIFORMS watch.
INT. AUTOPSY ROOM - DAY
A cheap wood coffin sits on a gurney. The lid has been
removed. 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 with
mold the corpse seems to be upholstered with baby blue
velvet. 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 - DAY
Five 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-ups
faster. 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 - NIGHT
An UNMARKED parked with Laval and Grace inside. They
watch:
INT. POSH HOTEL LOBBY - GRACE'S POV - NIGHT
MRS. 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 - NIGHT
The front door opens. Revealing Grace, and Laval as he
pockets 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. She
cautiously clears each room until she is sure she is
alone.
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 the
deadbolts on the door the little dog was guarding.
49.
INT. BASEMENT - NIGHT
Grace 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 a
leather razor strop hanging next to a small door.
Grace's hand undoes the chain. Lifts the latch and opens
the door as rusted HINGES SQUEAL.
INT. MARTIN'S CELL - NIGHT
Grace moves aside cobwebs with her big flashlight. The
room is tiny. Exposed joists overhead. Grace sits on
the cold concrete. A sleeping bag rolled in the corner.
One wall is just chicken wire. Her flashlight beam stabs
at the yawning darkness beneath the house.
There is a public school desk chair combo. The name
MARTIN neatly carved into it, then scratched out. A
broken light bulb overhead, its wires running to a corner
of the house.
Grace cautiously unrolls the sleeping bag. A pair of
socks, underwear, T-shirt neatly folded inside. She
rolls it back up. Finds a large jar, picks it up. Very
old 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 to
her BREATHING, to her HEART BEAT. So lonely, so
frightening. 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 - NIGHT
YOUNG MARTIN ASHER IS HUDDLED in the corner, shivering,
CRYING and WHIMPERING. Martin looks AT us with haunted
eyes.
INT. MARTIN'S CELL - NIGHT (PRESENT)
Grace REACTS, nothing is there. Chuckles for scaring
herself. 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. Teeth
flashing, GROWLING. It's a BADGER. Grace almost shoots
it. The fearless beast GROWLS.
Grace kicks the door open and runs out of there.
INT. UNMARKED CAR - MOVING - NIGHT
Laval 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 - NIGHT
Two POLICE CRUISERS SCREECH to a stop outside.
INT. ART GALLERY OFFICE - NIGHT
Wooden painting crates everywhere. A table saw for
making frames. Costa is distressed. Grace looking at a
message 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 @ LES
FRERS ON RUE CHAUCER. CU @ THE BAR 1:30 A.M.
Reynaud takes a picture of the screen. Laval checking
the 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 - DAY
Grace 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 security
camera.
GRACE
Or should I believe this.
COSTA
Believe what you want.
He's cocky, Grace likes that.
EXT. ALLEY - ATM VIDEO - NIGHT
Being fast forwarded. COSTA exits his office. Locks the
door. He walks TOWARD CAMERA and EXITS FRAME.
A MAN'S SILHOUETTE in the alley. Crossing towards the
office door. An ATM CUSTOMER blocks the shot. The ATM
customer 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; the
piercing eyes, the sharp features. Asher EXITS FRAME.
Fast forward some more until Costa ENTERS FRAME and
crosses to his office with a cup of coffee. The VIDEO
STOPS. It REWINDS. FREEZES ON ASHER.
CUT WIDE TO:
INT. TASK FORCE ROOM - NIGHT
Costa, Grace, Laval and Reynaud. Costa stands there
looking 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 - NIGHT
Costa gives Grace a look as Reynaud tapes a microphone to
the 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. THE
DJ THUMPS a EUROBEAT.
Costa sits at the bar. PEOPLE all around him, jostling
to 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, sweat
beads 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 in
with the CLUBGOERS.
CAMERA FINDS Reynaud sitting at the bar near Costa, gives
Costa a reassuring nod through the crowd.
INT. UNMARKED CAR - NIGHT (1:53 AM)
Parked outside the club. Grace and Laval watch Costa via
the 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 nursing
his water. He looks around. Then REACTS. A note sits
on the bar top. Right in front of him. Costa looks
around. Only sees strange faces.
Costa carefully unfolds the note. It reads: "MEET ME IN
THE RESTROOM NOW."
INT. HALLWAY - NIGHT
Costa walks down a narrow hallway. Paint peeling. MUSIC
MUTED. Red light bulbs hanging from the ceiling.
Approaching the men's room, Costa looks over his
shoulder. No one is watching.
INT. MEN'S ROOM - CONTINUOUS ACTION
Costa 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's
shoes. Black. Polished. Facing the stall door.
Waiting...
Costa freezes. Backs away as...
The stall door slowly swings open. HINGES CREAK. A
foot, a trouser cuff. A leg stepping out...
(CONTINUED)
57.
CONTINUED:
A BLACK MAN emerges. One of the guys at the end of the
bar. 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 - NIGHT
Costa bursts from the fire exit, fed up. He rips off the
wire, he struggles out of the body armor. Grace and
Laval 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 - DAY
Director 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, more
detailed 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 - DAY
Director Gillet stands tall before a podium. Blinded by
lights. A bouquet of microphones in his face. Beside
him 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 - DAY
Posters advertise SUMMERFEST. CITY WORKERS put up
barricades and porto-potties.
INT. ART GALLERY - DAY
Two CARPENTERS uncrate and hang paintings.
61.
ON COSTA
Lost in thought. He studies a series of vivid paintings
leaning against the wall. He crosses. Changes the
order. 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 and
Reynaud 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. Their
faces 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 - NIGHT
Summerfest, a street festival, is just warming up. It
could be Mardi Gras, plastic cups and glowsticks.
INT. ART GALLERY - NIGHT (9:39 PM)
A cutting edge club feel. A DJ spins a captivating
mellow mix. The gallery is filled PATRONS ABUZZ with
chit-chat. Inspector Laval and Reynaud study the
patrons.
INSPECTOR LAVAL
(subtitled French)
This painting costs more than my
house.
Reynaud shakes his head.
FIND GRACE
She's stunning and shy about it. She examines a
painting. 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 at
the 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 enjoys
Costa'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 a
hand 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 is
amazed 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 grabs
Costa'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 Elegant
Woman looking at Grace, arms crossed, enjoys her victory.
Grace plays along, stalks off, hiding a grin.
INT. ART GALLERY - NIGHT
A few minutes later Costa finds Grace at the turntables
looking 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 her
game 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 - NIGHT
Costa takes a leak. He's in a good mood.
(CONTINUED)
66.
CONTINUED:
The window above the stalls is open. The noise of the
PARTYING CROWD on the sidewalks outside.
Costa finishes, washes his hands. Pauses. Smoothes his
hair.
SOMEONE BEHIND HIM
Costa looks in the mirror and REACTS.
MARTIN ASHER stares at him from the mirror. No doubt who
it 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 into
the mirror. Costa's nose bleeds.
COSTA
Stop it!
INT. ART GALLERY - NIGHT
Reynaud stands near the bathroom. He heard that. He
approaches the door, tests the knob.
67.
INT. ART GALLERY - BATHROOM - NIGHT
The door opens. Costa hits the deck. Asher spins, aims
at Reynaud and FIRES. POP-POP-POP-POP! Reynaud drops
and rolls out of the line of fire.
INT. ART GALLERY - NIGHT
Asher bursts from the bathroom, running right over
Reynaud, who draws his pistol.
Grace pulls a pistol, Laval too. Asher running through
the patrons. Grace takes a knee and aims. She doesn't
have a clear shot. Asher aims his gun straight ahead as
he runs. People hit the deck.
ASHER
Out of my way!
POP! Asher SHOOTS a WINDOW, SHATTERING it. He shoulders
his way through the safety glass. Grace and Laval
follow.
EXT. ART GALLERY - NIGHT
Chaos. Summerfest is in full swing. A swirling, boiling
CROWD of shiny faces. Asher dives into their midst.
Grace plunges in after him. Inspector Laval follows.
INT. ART GALLERY - BATHROOM - NIGHT
Costa 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 - NIGHT
Asher and his pursuers leave a wake of disturbed REVELERS
that Reynaud follows.
Asher running. Careening, rolling, bouncing off PEOPLE.
He has the tireless power of a soccer player.
68.
ON GRACE
Running. Equally tireless. Locked onto Asher like a
missile.
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 - DAY
Police RADIOS busy with CHATTER. UNIFORMS clear a path
for two PATROL CARS. SIRENS WHOOP as they coast in, TAP
bumpers, blocking the intersection.
POLICE OFFICERS form a formidable skirmish line.
SHOUTING for REVELERS to move aside.
EXT. FESTIVAL STREET - NIGHT
Asher running. Gun in his pocket. Elbowing his way
through the crowd. Asher REACTS. He sees the gauntlet
of UNIFORMS and PATROL CARS blocking the intersection
ahead.
Asher shoves his hand in his pocket...
BOOM! BOOM-BOOM! POP-POP-POP!
Thunderous GUNFIRE. Grace hits the deck. The Uniforms
hit the deck. The CROWD SCREAMS, CLAPS and WHISTLES.
It's not gunfire...
TILT UP.
FIREWORKS unfold in the night sky like giant flowers of
fire. Rivers of sparks.
Grace recovers her feet with palpable relief, she thought
she was dead for a second. Grace looking around for
Asher. Laval reaches her.
GRACE
Shit. You see him?
POP-POP-BOOM! More fireworks. Laval gestures for some
Uniforms to spread out.
(CONTINUED)
69.
CONTINUED:
A SHRILL SCREAM O.S.
From an apartment building. Grace runs into the
building. Laval follows her.
INT. APARTMENT - HALLWAY - NIGHT
Grace and Laval running. More SCREAMING O.S. They run
upstairs.
INT. APARTMENT - UPSTAIRS HALLWAY - CONTINUOUS ACTION
An UPSET WOMAN is in the hall, standing by the just-been
kicked-in door of her apartment. Grace and Laval charge
inside.
INT. UPSET WOMAN'S APARTMENT - NIGHT
The 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 outdoor
dance 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 - NIGHT
Laval will go no further. Grace gets a running start,
jumps from the apartment window, tucks and rolls. On her
feet again, Grace sprints along the roof.
FIREWORKS BOOM and POP overhead. THUMPING TECHNO.
Grace reaches the edge of the roof. REACTS. Reynaud has
caught up with her.
EXT. RIVER PARK - GRACE'S POV - NIGHT
Asher has vanished into a vast sea of DANCERS, adorned
with strobing and glowing jewelry. The BEAT dominates
all sound.
70.
EXT. RIVER PARK - NIGHT
Grace and Reynaud trade looks, tenacious street cops at
heart, they holster their guns and jump into the crowd.
FIND ASHER --
A dozen yards away. He stalks a dancing RAVER who wears
a huge bundle of glowing necklaces.
Asher snatches necklaces. Disappears into a wall of
DANCERS.
FIND GRACE --
She and Reynaud scan the moving bodies for Asher. Grace
GLIMPSES the back of Asher's head. Grace and Reynaud
tear through the crowd like bulls, working together, a
bonding moment.
Asher is an arm's length ahead of Grace. She reaches
out, her fingers snag the cloth of his shirt. Asher
turns...
IT'S NOT ASHER.
Grace shoves him aside and moves on. She SEES a
disturbance up ahead. Grace shoulders her way through
the crowd.
Grace and Reynaud converge on the disturbance. They
cleave through ONLOOKERS to reveal...
A FIGHT
Two drunk COLLEGE JOCKS slug it out. Grace looks around;
no Asher. Angry, frustrated, Grace grabs one of the
Jocks, hurls him to the ground. Six UNIFORMS swarm in
and arrest the two Jocks.
Reynaud throws up his arms in frustration. He looks at
Grace, they know they've been beaten.
EXT. RIVER PARK - CRANE SHOT - NIGHT
PULL BACK to reveal Grace and Reynaud surrounded by an
ocean 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 of
pilfered gel glow necklaces. Red plastic cup in hand,
Asher enjoys the boisterous anonymity.
ASHER'S EYES
Dangerous and cold. They track Grace as she moves
through the crowd.
Asher grabs one of the hotties, begins making out with
her.
Grace searching the crowd. Scanning faces.
Grace passes within feet of Asher.
Asher smirks. Now another hottie wants a kiss. Asher
complies.
INT. ART GALLERY - NIGHT
It'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 shows
he is glad to see Grace.
INT. UNMARKED CAR - MOVING - LATE NIGHT
Grace 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 can
tell 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 view
of downtown.
Grace taking everything in. Art books, sketch pads.
Piled high on the desk. She looks at the ceiling. SEES
notes 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, he
didn'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 staring
match. Costa and Grace try not to laugh. They end up
giggling.
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 about
it.
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 kisses
Costa for a long beat.
Grace breaks the kiss. Holds a finger to her lips; shhh.
She turns and exits. The door shuts behind her. Costa
is going to miss Grace.
76.
EXT. COSTA'S APARTMENT - DAY
The next morning. Laval pulls up in UNMARKED #1, next to
the 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 ANGLE
Reynaud and Grace have just pulled to the curb a half
block away.
INT. UNMARKED #2 - DAY
Reynaud 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 - DAY
Laval RINGING the bell.
A white PLUMBER'S VAN pulls up behind Laval's unmarked.
A PLUMBER gets out. Coveralls, clipboard. Crosses to
another apartment.
Costa opens the door. With two packed bags. Laval takes
one. Costa takes one last look at his home. Locks the
door.
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. Laval
drops 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 - DAY
Reynaud GUNS IT.
INT. UNMARKED #1 - DAY
Costa 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 - DAY
SCREECH! Reynaud slides to a stop. Leaps from the
still-moving car and checks his friend Laval. Who is no
more. 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 the
muscular cop car.
INT. UNMARKED #1 - MOVING - DAY
Costa driving. Scared to death. Asher has the gun in
his 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 the
rearview 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. Costa
tries 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 - DAY
Grace FLOORING IT. Sails onto the highway.
79.
EXT. TWO-LANE HIGHWAY- DAY
Costa's unmarked races northward, out of the city.
Grace catching up.
INT. UNMARKED #1 - MOVING - DAY
Costa 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 TRUCK
A head-on imminent. The Buick swerves onto the shoulder.
Just missing them.
INT. UNMARKED #2 - MOVING - DAY
Grace watches Costa's unmarked SCRAPE past the truck. A
side 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 - DAY
Grace's car spins off the road. Stops in a ditch. A
beat. The Buick's hulk blocking the road.
Grace exits the unmarked. Dazed but unhurt. She crosses
to 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 POLICE
CAR. 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 at
her.
GRACE
Let's go. Bad guy's that way.
The Cop nods, PUNCHES IT.
INT. UNMARKED #1 - MOVING - DAY
Costa is driving towards the mountains. Driving through
the pine forest.
ASHER
There. Turn there.
A hard-to-see side road. Costa JAMS the BRAKES to make
the 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. Costa
speeding 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 driving
straight at a large tree...
Asher REACTS.
Costa jams his thumb into the release button of Asher's
seatbelt...
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 through
the windshield.
INT. POLICE CAR - MOVING - DAY
The 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 - DAY
Oil smoke and steam pour from the unmarked #1. Costa is
alive, cut bad. He looks at Asher.
COSTA
Rot in hell, Martin Asher.
INT. UNMARKED #1 - COSTA'S POV - DAY
Asher's head is stuck through the windshield, his throat
cut bad by glass. He's alive. Asher panic-sucks deep
breaths.
EXT. FOREST CRASH SITE - DAY
Costa undoes his safety belt. Grabs the door handle.
The door pops open.
Costa pulls himself from the wreck. Flames spread under
the car.
EXT./INT. UNMARKED #2 - MOVING - DAY
They race along a mountain road with a view of the St.
Lawrence River below. They can see far up the road, no
sign of the unmarked #1.
Grace looks behind them, reacts.
83.
EXT. HILLSIDE ROAD - GRACE'S POV - DAY
A COLUMN OF SMOKE rises from behind a ridge.
INT. UNMARKED #2 - MOVING - DAY
GRACE
(subtitled French)
Turn around.
EXT. FOREST CRASH SITE - DAY
Costa lays by the road. Motionless, he may be hurt bad.
UNMARKED #1
is now Martin Asher's funeral pyre. Flames engulf
everything. Even the glass is melting.
BOOM! A TIRE EXPLODES.
Costa stirs, crawls on his hands and knees, into the road
away from the wreck.
POP-POP-POP! AMMUNITION in the unmarked EXPLODES from
the heat.
A police car arrives. SCREECHES to a stop alongside
Costa.
Grace leaps from the passenger side. She grabs Costa,
helps him into the back. POP-POP-POP! More AMMO COOKING
OFF.
GRACE
Let's go!
INT. POLICE CAR - MOVING - DAY
The Cop backs up fast. BOOM! Another tire. Now the
tree has caught fire.
Grace examines Costa, running her hands over Costa's
battered 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 is
holding him in his arms. So does Grace. It feels good.
A FIRE ENGINE heading to the crash passes them.
EXT. FOREST CRASH SITE - DAY
Crime scene tape. POLICEMEN form a perimeter. The fire
is out. A Fire Truck pumps water for a three-man HOSE
TEAM cooling the hot metal. A plume of steam rises up
the scorched tree trunk.
The car is nothing more than blackened sheet metal.
Asher has been reduced to a charred torso.
INT. HOSPITAL - DAY
Reynaud sits by himself, his head between his knees.
Mourning Laval, dead on a nearby gurney. Director Gillet
crosses to him. Lays a comforting hand on Reynaud's
shoulder. Reynaud sees who it is, stands crisply, wipes
his 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 - DAY
Costa's scalp is being stitched shut. Costa's wrist is
in a splint. She watches the DOCTOR sew flesh for a
beat.
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 - NIGHT
Ultra mellow. Grace and Costa chill on throw-pillows and
tapestries. Persian trip-hop and hookahs.
Grace and Costa have melted into a corner where they sip
tea. Nobody has been more comfortable. Costa pours beer
from 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 her
even more.
INT. HOTEL ROOM - NIGHT
Grace is in manic cleaning mode. She pulls papers off
the 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 is
still 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 she
needed 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, a
little 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 the
couch. 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 immediacy
building.
Costa grabs her. Pushing her. Up against the wall. The
phone CLATTERS to the floor. Grace's eyes widen.
Two mouths. Inches apart. Costa's hand reaches up her
skirt. Exploring. Grace swallows. His hand reaching
into 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 down
on hers. The kiss devouring. Knocking pictures off the
walls. Grace's hands pulling him closer.
Costa picks her up. Throws her on the bed. He tears at
her 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 crime
scenes. 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 of
Costa's head. He's utterly still.
INT. BATHROOM - DAY
Grace enters, groggy. Turns on the sink. Flips on the
light.
Grace reacts, stumbles back.
She's covered with blood. Grace panics, feels herself
for wounds.
INT. HOTEL ROOM - DAY
Grace 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 his
shoulder.
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. The
charred 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 SNAPS
them on, she reaches for an eyelid, peels it back.
Stares into the clouded eye. Mrs. Asher REACTS, quickly
withdraws 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 - DAY
The 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. Costa
looks 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 - DAY
Grace 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 to
read Grace's expression, worry etching his face.
Grace is looking at Costa, her mind racing a million
miles 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's
not okay. Grace has a calamitous expression.
GRACE
Holy shit.
Costa takes a step toward her. The street cop motions
for Costa to stay back. Costa REACTS.
INT. HOSPITAL - COSTA'S POV - DAY
Grace's purse sits on a chair in the exam room. Her
pistol visible.
INT. HOSPITAL - HALLWAY - DAY
Costa takes the gun from her purse, pockets it, along
with her FBI credentials and car keys.
Costa backs away from Grace.
Costa's physicality transforms from hip art dealer to
something 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 grim
determination. He turns, enters a stairwell and exits
the building. Grace's heart is breaking.
GRACE
Shit!
She kicks the wall and gives chase, runs into the
stairwell.
EXT. HOSPITAL - DAY
Asher 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 a
nutcase. 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 - DAY
A patrol car stops in front. Grace leaps out and runs
into the building. An Unmarked pulls up. Reynaud jumps
out and enters the building.
97.
INT. NICE HOTEL - HALLWAY - DAY
Grace running. Reading room numbers. Reynaud appears in
the hall.
Grace finds the right room. Reynaud joins her, gun
drawn.
The door is ajar. Grace pushes it open.
INT. HOTEL ROOM - GRACE'S POV - DAY
A MAID changes the sheets. Mrs. Asher is gone.
INT. ASHER HOUSE - DAY
Mrs. Asher answers a KNOCK at her door. Mrs. Asher
REACTS.
ASHER
Hello, Mother.
Asher forces his way inside. Mrs. Asher SCREAMS.
EXT. HIGHWAY - DAY
SIRENS SCREAMING, flashing lights as six police cars zip
by at 90.
INT. UNMARKED - DAY
Grace over the shock and harder than steel. Reynaud
drives fast. Grace on her cell.
GRACE
No answer. She turns her phone
off.
INT. ASHER HOUSE - LIVING ROOM - DAY
Mrs. Asher sits on her couch. Asher stands. The teeny
Doberman 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 in
his 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, leans
forward, 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 - DAY
Asher 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 ANGLE
Mrs. Asher's head neatly adorns a silver platter.
INT. POLICE CAR - MOVING - DAY
Grace holds on as Reynaud slaloms around a corner in
Asher'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 - DAY
Reynaud's car SLIDES to a stop. Police cars take
position around the block, forming a perimeter around the
house.
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 - DAY
Grace, Reynaud and the four Uniforms enter. Weapons
sweep for targets and clear sectors.
Grace moving down the hallway. Slowly, breathing hard.
INT. ASHER HOUSE - LIVING ROOM - DAY
Grace 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. Grace
turns 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 - DAY
Grace's hotel room is now a crime scene. CRIMINOLOGISTS
process the scene. The sheets are bagged as evidence.
ANGLE ON GRACE
watching 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 - DAY
Gillet sits at her desk across from Grace. His eyes are
harder 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 was
Asher.
GRACE
(reads)
Richard Hart.
FLASHBACK - INT. HART'S APARTMENT - DAY
Hart rolls painting canvases into a tight cylinder.
Inserts it into a fancy lamp. A hypodermic stands by to
reward 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 - NIGHT
Richard Hart checks his E-mail and nearly has a heart
attack.
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. Two
FBI SUPERVISORS enter. Grim, silver-haired. Grace
stands.
GRACE
Ah, the undertakers have arrived
for my career.
(CONTINUED)
103.
CONTINUED:
Grace hugs Gillet. And the FBI Men escort her out of
Gillet's office.
INT. FBI CONFERENCE ROOM - DAY
Grace 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 - NIGHT
Grace is exhausted, but holding up well. The questions
don'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 - DAY
Upscale Euro-hip. Hart SLAMS down the phone. Shoves a
gun 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 - NIGHT
Asher enters through the front door. Hart isn't home.
INT. HART'S BATHROOM - NIGHT
Asher steals floss from the garbage can. Takes Hart's
toothbrush. Some dirty laundry.
GRACE (V.O.)
Asher wasn't becoming disorganized
and decomposing into madness, he
was evolving.
EXT. PARKING LOT - NIGHT
Asher, his face obscured with a sweatshirt hood, pulls
Todd 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 unconscious
man with the garotte.
Asher places a couple of Hart's hairs on the body.
INT. INTERROGATION ROOM - NIGHT
Asher drawing the sketch of who we now know was Hart. Is
that 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 - DAY
In the bathroom, Asher, wearing surgical gloves, places
Hart's comb in the medicine cabinet. Puts Hart's trash
in 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 - NIGHT
Grace 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 - DAY
Grace does the walk of shame in front of her former
COLLEAGUES. She carries a cardboard box full of personal
stuff from her office. Two GSA POLICE escort her.
EXT. QUANTICO PARKING LOT - DAY
Grace heaves the box into the back of her Audi. A GSA
police car stands by.
DICK COLTON, her ex-boss intercepts her before she gets
in.
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 her
out of Quantico.
EXT. RURAL HIGHWAY - DAY
Grace has the top down. The WIND snatching papers from
her box. Grace doesn't care.
107.
INT. ECONOMY MOTEL - NIGHT
Grace watches TV in the dark. Drinking a beer.
Her CELL RINGS. Grace looks at it. Sees OUT OF AREA on
the 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 a
corner. She sits, settles in for a long vigil.
INT. ECONOMY MOTEL - DAY
The rising sun reveals Grace has not moved. She is now
realizing Asher isn't going to show. Grace drops the .45
and begins to cry.
EXT. MEDICAL CLINIC - DAY
Grace exits the clinic reading a test result. She
freezes in her tracks, returns inside.
INT. WAREHOUSE STORE - DAY
Grace shopping. She has a quarter ton bag of dog food.
Gallons of spaghetti sauce. Stocking up.
108.
EXT. WAREHOUSE STORE PARKING LOT - NIGHT
Wintertime. It's an ice storm. Freezing rain
accumulates on existing snow and ice. Grace loading her
supplies into her truck. It's miserable out and getting
worse.
HONKING. Grace turns to watch a car slowly sliding
helpless across the ice. It stops just short of hitting
a parked car.
INT. POST OFFICE - NIGHT
Ten minutes later Grace checks her P.O. Box. Finds some
baby 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 - NIGHT
Old and falling apart. Overgrown with branches. The
wind picking up. Grace's truck slowly navigating the
ice. The only vehicle around.
INT. GRACE'S TRUCK - MOVING - NIGHT
The accumulating ice is beautiful but deadly. Grace
drives with extreme caution, picking through the ice in
low 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 her
truck.
The truck slides across the ice. Grace fights to regain
control, to keep it out of the ditch.
Grace stops. Gets out. Pulls the branch off the hood.
EXT. OLD FARMHOUSE - NIGHT
The 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 - DAY
Restored. Filled with family heirlooms. Another family
that 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 - NIGHT
Grace takes a Glock from her pocket and sets it on the
counter. She pours water into a kettle.
(CONTINUED)
110.
CONTINUED:
Puts the kettle on the stove. Turns on the stove. Grace
notices water on the kitchen floor. Wait. Wet
footprints.
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 down
into 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 now
cuffed to the chair. She struggles futilely against the
cuffs.
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. Her
arms 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's
licenses.
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 out
loud or start crying. He seems edgy; he needs her
decision 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 at
Asher. 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 leans
over to kiss her. Slow, delicate. Asher kneels beside
her, 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. She
shoulders 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 gets
on her feet and runs from the kitchen.
113.
EXT. OLD FARMHOUSE - NIGHT
Grace exits the kitchen door, running with her hands
cuffed behind her. Running for her life.
She runs for the nearby woods. Her shoes CRUNCHING
through a layer of fresh ice over old snow. Fighting for
balance.
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 the
ground. She takes the opportunity to move her handcuffs
from behind to in front.
She unties and removes the heavy prosthetic belly she
wears. 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 his
hand at the ready. Asher is hunting. He intends to kill
her.
ASHER
Keep fucking running, Grace,
you're only going to die tired!
ON GRACE
Running. Batting away ice-covered branches. Drenched
with sleet. Hypothermic conditions.
EXT. OLD PRIVATE ROAD - NIGHT
Grace emerges from the woods. Running along the icy
road. She slips and falls. Cuts her hand on the ice.
Grace stands, and keeps running, her hand bleeding, the
knife getting slippery.
ON ASHER
Gaining on her. Grace slips again, scrabbling on the
ice, trying to keep moving. A slow motion nightmare.
Here comes Asher. No mercy. He aims the gun at her
face...
(CONTINUED)
114.
CONTINUED:
Grace raises her hands to protect her face...
POP! Asher FIRES. DING! The BULLET intended for
Grace's forehead hits the knife -- RICOCHETS into the
trees.
A beat. Grace looking at the now-creased knife.
Asher's gun is out of rounds. The slide is locked back
on an empty chamber.
SWICK! Grace slices Asher's legs with the knife. Slices
each shin deeply.
ASHER
Shit!
Asher kicks the knife from her hand. Then kicks her in
the face. He tries to kick her again but she grabs his
leg.
WHAM! Asher slips, hits the ice hard. Grace is on top
of him, wraps the handcuffs around his neck. Wraps her
legs around his body.
Grace chokes Asher for all he's worth. His eyes bulge,
his face reddens as he meets the same fate as his
victims. Asher has a seizure as his oxygen depleted
brain dies.
Grace doesn't let go. A long death embrace. Finally,
when she is sure, Grace releases from Martin Asher's
body.
She checks his pulse. He's dead. Grace stands.
The rain falling on her. Ice and moonlight. Grace spits
blood, 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
