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Taking Lives Movie Script

Writer(s) : Michael Pye, Jon Bokenkamp

Genres : Crime, Drama, Horror, Thriller

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                  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