PROJECT SUBMISSION PACK

FILM: Nomis

DATE: May 2016

1. Submission Form p2

2. Script Report p33

3. Script p35

FF II LL MM SS UU BB MM II SS SS II OO NN FF OO RR MM

PROJECT TITLE: DATE: 03/05/16 NOMIS

APPLICANT DETAILS APPLICANT CONTACT DETAILS NAME: Karl Richards ADDRESS: POSITION: Producer COMPANY Propulsion TEL: 07713 737 828 EMAIL: [email protected]

PROJECT DETAILS Karl Richards (The Adventurer, The BUDGET: £5,874,396 PRODUCER/S Expatriate) Rick Dugdale (The Ordinary and CREDITS Man, Blackway) Chris Pettit (Heartless, PRODUCTION Arise Pictures (UK) / Propulsion

Heroes & Villains) COMPANIES & Pictures (UK) / Enderby Entainment WRITER: David Raymond NATIONALITY: (Canada) GENRE: Psychological Thriller

NAME: CREDITS (1 or 2) Proposed Approached Confirmed LOI DIRECTOR: David Raymond CAST 1: Michael Douglas Basic Instinct CAST 2: Anthony Hopkins Silence of The Lambs CAST 3: Ben Kingsley Ghandi CAST 4: Gemma Arterton Clash of The Titans

SHOOTING SCHEDULE – Prep, Principal, Post, delivery SHORT SYNOPSIS / LOGLINE July Prep / September shoot / Post Sept until Feb / Delivery Treatment attached separately March / April 2017.

FINANCE DETAILS FINANCIER NATURE OF INVESTMENT AMOUNT £ BUDGET % Proposed Approached Confirmed LOI FORTITUDE Minimum Guarantee £1,725,328 29.4% ARISE Equity £690,131 11.7% ONTARIO TC / FEDERAL Soft £878,522 15% ITALY – TC’s / REGIONAL Soft £,187,041 20.4% POST DEAL Semi Soft £276,052 4.7% CMF Semi Soft £241,546 4.1%

% Premiere Stakeholder: Proposed Corridor 1st FORTITUDE TBC recoupment BOND: schedule 2nd ARISE for all 3rd POST DEAL / CMF AUDITOR: financiers: 4th 5th

SALES INFORMATION SALES AGENT: FORTITUDE SALES ESTIMATES: CONTACT: LOW: $ Will forward. Deal just been agreed TEL: MEDIUM: $ EMAIL: HIGH: $

TERRITORY: DISTRIBUTOR: MG: RIGHTS:

FINANCE DETAILS EXCLUDED / WITHHELD TERRITORIES: DETAILS:

PRODUCTION INFORMATION COUNTRY: % SPEND: DETAILS: ITALY 42% CANADA 47% OTHER 12%

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N O M I S

The narrative strays into dark territory. This film will be delivered in a Fincher esq cinematic canvas – where the violence, implications of violence are often off camera. This is not a horror/gory picture. More an elegant, sophisticated and grounded psychological thriller. David Raymond

Detective Walter Marshall examines a deceased woman discovered on cargo truck whose driver found her amongst the log shipment he was transporting. The woman jumped off a bridge somewhere along the driver’s route. It’s ruled a homicide, when the woman shows signs of being held captive – wounds on her wrists and malnourishment. Before she died she managed to scratch two letters into one of the logs ‘TV’.

Malcolm Cooper is an ex judge who spends his retirement conducting questionable moral duties - catching online predators and rehabilitating them by using chemical means. Whilst unconscious he has their reproductive organs rendered ineffective. However harsh this sounds, this form of treating predators, who consistently reoffend given their hormone imbalance, has gained much traction across the US. As a judge, Cooper spent his life having to let sex offenders out of jail, knowing the high chance of their reoffending. When he lost his family under tragic circumstances, he took this as a divine punishment. The law doesn’t work – it offers periodical punishment, but doesn’t treat the cause. What Cooper’s doing is not violent. It’s not for enjoyment. He argues that he is actually giving predators their first chance of living a normal life, by removing the hormones, which drive them to offend. But, when a girl he uses to bait predators goes missing – he’s forced to turn to the police.

Marshall called in by the Cyber Crime Unit helps them track down Lara’s location when he realizes that clue trail matches that from the deceased woman who jumped off the bridge. They rescue Lara and stumble upon a hornet’s nest – Simon Stalls house is a morgue.

Simon’s prosecution should be a simple one. He admits guilt and there’s enough evidence for 10 life sentences. Marshall delays the trial, as he needs Simon to identity as many of the deceased as possible. The issue is that Simon is mentally ill – he’s very messed up child in a man’s body.

The police come under attack. One by one, they’re taken out – but by whom? Simon is either is a genius who prepared for the eventuality of being caught or someone out there is helping him. Marshall delves deeper into Simon’s history; his parents suicide, his isolated upbringing, his tortured past. Any empathy is soon gone when Simon is broken out of jail by cop acting under duress.

Marshall uncovers a series of interviews recorded by the Child Prosecution Service who investigated Simon’s mother for neglect. The tapes reveal that as a child, Simon was once arrested for stealing local dogs, letting them lose in a cornfield… then burning it. The finale sees Simon repeat his favorite game, with people in place of dogs. Marshall arrives before it’s too late, only Simon isn’t the only player.

The woman who jumped off the bridge wasn’t writing the word ‘TV’, she merely died before she could complete it. Some reflections are deadly. SIMON | NOMIS.

PROJECT COVERAGE FORM

TITLE: Nomis AUTHOR: David Raymond SUB TO: Alena Trower SUB BY: Karl Richards FORM: Screenplay LENGTH: 107 mins BASED ON: n/a LANGUAGE/S: English BUDGET: £5,874,396 GENRE: Psychological thriller LOCATION: Italy and Canada PERIOD: Modern day READER: Sophie Taylor DATE: 09/05/16

ELEMENTS: Producers: Karl Richards, Rick Dugdale and Chris Pettit Director: David Raymond Cast: Anthony Hopkins (confirmed), Ben Kingsley (confirmed)

LOGLINE: After a young woman is found dead on the back of a cargo truck, a series of events lead Marshall and his team down a disturbing path. The characters work together to understand the motives of the childlike killer, and begin to question whether he is acting alone.

COMMENT SUMMARY: Although the film employs the use of aspects already well explored within the Psychological Thriller genre, its good use of characterization and dialogue means that it will appeal to a wide audience.

Excellent (4) Good (3) Fair (2) Poor (1) PREMISE x STORYLINE x CHARACTERISATION x DIALOGUE x STRUCTURE x PACE x ORIGINALITY x AUDIENCE APPEAL x TOTAL 4 12 6

OVERALL SCORE: [22]/32 = [ 69 ]%

CHARACTERS: Marshall – The protagonist of the film. Walter Marshall is a detective who wants to repair the relationship he has with his daughter. Cooper – Malcolm Cooper is an ex-judge who works independently to immobilise sexual predators, with the help of Lara. Rachel – Rachel Towney is also a member of the force and majored in psychological trauma. Lara – A teenage girl who was taken in by Cooper. Lara aids him in baiting online predators. Simon – Simon is the antagonist of the film. He has a twin brother, also named Simon. Together they imprisoned and murdered several young women.

PREMISE: When the extent of Simon’s crimes is discovered, the protagonist Marshall works tirelessly with the help of Rachel, Cooper and the force to understand the motives of the childlike killer and to see him face justice. As they are swept deeper into his world, they begin to question whether Simon is acting alone or if there’s someone else assisting him.

SYNOPSIS: Detective Walter Marshall examines a deceased woman discovered on a cargo truck whose driver found her amongst the log shipment he was transporting. The woman jumped off a bridge somewhere along the driver’s route. It’s ruled a homicide when the woman shows signs of being held captive; wounds on her wrists and malnourishment. Before she died, she managed to scratch two letters into one of the logs, ‘TV’.

Malcolm Cooper is an ex-judge who spends his retirement conducting questionable moral duties; catching online predators and rehabilitating them through castration. As a judge, Cooper spent his life having to let sex offenders out of jail, knowing the high chance of their reoffending. He argues that he is actually giving predators their first chance of living a normal life, but when a girl he uses as bait goes missing, he’s forced to turn to the police.

Marshall, called in by the Cyber Crime Unit, helps track down Lara’s location. He realises that the clue trail matches that from the deceased woman who jumped off a bridge. They rescue Lara and stumble upon a hornet’s nest – Simon Stall’s house is full of corpses and imprisoned women.

Simon’s prosecution should be a simple one. He admits guilt and there is enough evidence for 10 life sentences. Marshall delays the trial, as he needs Simon to identify as many of the deceased as possible. The issue is that Simon is mentally ill; he is a psychologically disturbed child in a man’s body.

The police come under attack. One by one, they’re taken out, but by whom? Simon is either a genius who prepared for the eventuality of being caught or someone is helping him. Marshall delves deeper into Simon’s history; his mother’s suicide, his isolated upbringing and tortured past. Any empathy is soon gone when Simon is broken out of jail by a cop acting under duress.

Marshall uncovers a series of interviews recorded by the Child Prosecution Service who investigated Simon’s mother for neglect. The tapes reveal that as a child, Simon was once arrested for stealing dogs and letting them loose in a cornfield before setting it on fire. The finale sees Simon repeat his favourite game, with people in place of dogs. Marshall arrives before it is too late, but Simon is not the only player.

The woman who jumped off a bridge wasn’t writing the word ‘TV’, she merely died before she could complete it. Some reflections are deadly.

COMMENTS AND SUGGESTIONS: The film draws upon several aspects already well explored in the Psychological Thriller genre; murders, psychopaths, mind games and plot twists revolving around the identity of the killer. However, its familiarity as an archetype does not detract from its impact. The characters are well rounded with histories and goals, and the dialogue is natural and believable.

Some aspects of the film seemed a bit rushed e.g. Glasgow’s subplot in which his baby is kidnapped and he is coerced into freeing Simon from jail. Marshall’s history could also be explored in more detail. It seems like we barely got to know his daughter or ex-wife, despite the fact that they were mentioned often.

The script itself has several spelling and grammar issues but these do not affect the piece as a whole.

POTENTIAL: Nomis has the potential to be a popular film in its field. While it does not necessarily stand out as ground-breaking in its exploration of the genre, it has definitely excelled in certain aspects such as characterisation and dialogue.

Overall Nomis seems to be an above-average film that will appeal to a wide market. The ‘good’ characters are relatable and realistic, and the ‘evil’ characters are twisted and gripping, in a way that will capture a respectable audience size.

N O M I S

Written by David Raymond

4.2016

Arise Pictures Enderby Entertainment uMedia INT. CORRIDOR, GRAND HOUSE, SEATTLE - NIGHT Eerie large house, the lights are off, the decor is minimalistic - cold. We move down a long stale corridor into a small room. The room has basic furniture; book cases, a sofa, a table. Everything‘s merely decorative, nothing serves a purpose other than filling the space. We focus on a wall, odd looking wall paper you wouldn’t want to stare at for too long. We trace down the wall to the floor to find a crack - a hidden door. The door opens slightly revealing - eyes, desperate, female eyes staring out, as her fingers nudge the door slowly open. Her eyes cautiously dart left and right, her mouth nervously wide open so her breathing is silent... Through her, we don’t hear typical sound, just the swirling, growing, vibrating sound of air in a vacuum which alters as her environment changes.

EXT. GRAND HOUSE, SEATTLE - NIGHT The woman drops out of a window onto the grass. We get a better look at the house, it’s old, large and isolated. The woman, bare footed, wearing miss matched, unfashionable clothes runs quietly across the frosty lawn strewn with winter leaves. She reaches a row of tall trees and dives beneath the branches. The woman reaches a well concealed fence behind the tree line and purposefully moves along it - this has been rehearsed. The woman finds a pile of branches on the ground and moves them aside revealing a dug hole in the soil leading under the fence. She gets on her knees and starts pulling at the soil with her hands, frantically snapping tree roots. The hole is almost big enough for her to fit under. The woman looks back at the house through the gaps in the branches, the lights remain off. She turns The woman pushes her head under and through the hole, out the other side and claws with her hands, inch by inch toward freedom. On the other side of the fence, the woman’s waist and legs. A hand violently grabs one of them and starts pulling. 2.

On the other side, the woman screams and digs her hands into the soil, pulling herself through (we hear the swirling sound of air, thunderous vibrations of sound as she screams). The woman kicks and kicks.

EXT. WOODS, SEATTLE - NIGHT The woman determinedly sprinting. We now get a proper look at her. Once pretty, now thin and weak. The woman breaks through a tree line onto a road with a small bridge ahead. She runs to the bridge, trying desperately to get air into her lungs. A chasing figure emerges from the treeline heading for her. The woman reaches the bridge. No one else in sight, no help. She looks over the edge of the bridge, a freeway below. As he reaches her, she climbs the bannister. The woman desperate and exhausted is out of options. She faces her captive defeated but relieved it’s over, allowing herself a defiant smile. As a log truck passes beneath, she leaps. TITLE: N O M I S

EXT. HOUSE, SEATTLE - MORNING LIEUTENANT WALTER MARSHALL, 46, weathered but you get a sense it’s self inflicted, sits leaning against his car, engine running, sipping coffee starring somewhat bitterly at the house in front of him. Marshall bored waiting, heads up the path and notes the flowers and plants are dying. Moments later, with a shake of the head he pours water over them from a plastic bottle, getting mud on his boats - this place was once personal to him. Marshall reaches the front door he hears yelling inside.

INT. LIVING ROOM, FAYE’S HOUSE, SEATTLE - MORNING FAYE MARSHALL, 15 screams at her mother, CAROL 42, Marshall’s ex wife. Marshall enters without knocking causing the mood to shift. Both shrink in his prescience. FAYE (To Marshall) I’ll be ready in a minute Dad. 3.

MARSHALL What’s going on? CAROL (To Marshall) I’ve asked you to use the door bell. MARSHALL You wouldn’t have heard it. Carol sees Marshall’s got mud on his boots, which is now on the carpet. CAROL Lovely. MARSHALL Well I-. FAYE Mom snooped through my Facebook. (To Carol) You have no right to do that. CAROL I have the only right young lady. MARSHALL You should have asked her first. FAYE See. CAROL Would you like to see the photos your daughter posts of herself online? Or read the conversations she’s having with total strangers? Marshall turns to Faye. She’s in trouble.

INT. BEDROOM, FAYE’S HOUSE, SEATTLE - MORNING We’re tight on images of Faye being a teenager, some goofy, some not wearing much, it’s innocent but enough for a parent to be pissed about. FAYE Everyone does it. It’s nothing compared to the naked selfies Kim and Kyle post. 4.

MARSHALL Who are they? FAYE Der. They’re famous. MARSHALL For what exactly? Faye unexpectedly hesitates. MARSHALL (CONT’D) For posting naked pictures of themselves online? And these are people you look up to? Marshall clicks on an image of Faye - a selfie in her underwear. MARSHALL (CONT’D) You’re 15! What do you think you’re telling the world when you willingly show them your body like that? You’re saying, this is ALL I have to offer. You’re worth so much more than that. FAYE I’m sorry Dad. I’ll take them down. (Beat) Mom’s right, you never really wanted me. MARSHALL That’s your Mom’s go to. Just ignore her. FAYE But it’s true? MARSHALL It’s not a yes or no answer. For what I do, you’re my kryptonite. FAYE What’s that? MARSHALL Doesn’t matter. Right, who are these people you don’t know? Faye clicks her inbox. Some guys, some girls. 5.

FAYE I didn’t accept their friend requests. Some of them message me though. MARSHALL And you replied? FAYE They were being so annoying. MARSHALL You’re in control of you, no one else. They’re baiting you to talk to them and you fell for it. You enable them the moment you engage. Marshall clicks on one of the guys messaging Faye; MALCOLM, mid 40’s, looks harmless but something’s off. MARSHALL (CONT’D) Based on the information you’re presented with, what can you decipher? FAYE This isn’t your work Dad. MARSHALL You know what’s dumb? Not being smart. Assess the situation the same way I taught you to outside, in the real world. (Clicking) He’s only got a few friends right? Hardly any pictures with anyone but himself. Look at the camera angles he uses, trying to make it look like someone else is taking the pictures, but really it’s him. He’s not been on Facebook very long either. FAYE Are you on Facebook? Marshall clicks on his friends list ‘recently added.’ MARSHALL See who he’s adding. Look most of them are girls. You get his M.O.? FAYE Got it. 6.

INT. STAIRS, FAYE’S HOUSE, SEATTLE - MORNING Marshall and Faye leaving. At the bottom of the stairs, Carol is cleaning up mud from Marshall’s boots. FAYE Why aren’t you on Facebook Dad? CAROL He doesn’t have any friends. Carol looks at Marshall, then at the mud. CAROL (CONT’D) Was this you? MARSHALL Almost certainly.

INT. FAYE’S BEDROOM, SEATTLE - MORNING Tighter on Faye’s computer. Her Facebook page still open. The instant chat messenger comes up: MALCOLM (ON MESSENGER) Yo. Whats’up. Just chillin at work, listening to this phat band that wants me to sign em.

I/E. BATHROOM, DINER, SEATTLE - MORNING MALCOLM, 40, peeing in the urinal stand. One hand on his phone typing away. He finishes and zips his zipper. Without washing his hands he exits. We follow him into the quiet diner, where he sits opposite: LARA, mid-teens, could definitely be younger, if older it’s not by much. Lara gulps down her strawberry milkshake. Malcolm nervously watches on, privately enjoying the sight. LARA So like. Will it hurt? MALCOLM No, you silly thing. Think of it like a roller coaster. LARA I love roller coasters. 7.

MALCOLM You’ll be nervous to start with, even scared a little, but that’s ok because everyone is. I was. But once it starts, the rush, you’ll feel amazing. You’ll want to do it over and over again. LARA Thanks for my phone. I haven’t been using it too much. MALCOLM You don’t use it to speak to other people do you? It’s a secret phone remember? LARA Sorry. Malcolm takes a swig from a flask. MALCOLM You’re not allowed to drink alcohol are you? Malcolm pours liquor in her milkshake and stirs the glass. LARA Totes cool. MALCOLM Cool. Ha, I’m cool. You can do whatever you want when you’re with me. That’s what friends do - they look after each other.

INT. MOTEL ROOM, SEATTLE - MORNING Malcolm enters followed by Lara. He’s laid plastic rose petals over the bed. A bottle of vodka and two plastic cups on a table. The curtains drawn. Malcolm locks the door and presses play on a CD player. LARA CDs are ancient. MALCOLM Totes. Lara laughs at Malcolm. Her demeanor shifts - she’s dismissive of him, confident. 8.

MALCOLM (CONT’D) Why don’t we start by each taking off a piece of our clothes. I’ll start. Malcolm removes his shirt. He’s out of shape and pale. LARA Sexy. MALCOLM Really? LARA No. Dickhead. MICHAEL COOPER, 65, bearded, bald and grizzled, steps out of the bathroom and swings a baseball bat at Malcolm’s head.

EXT. GAS STATION, SEATTLE - MORNING Police have turned the gas station into a crime scene. A large log cargo truck has forensic officers crawling over it. Marshall arrives and exits his car to be met by RORY DICKERMAN 55, Head Forensic officer. They walk through the crime scene together. DICKERMAN Driver didn’t realize she was in the cargo until he stopped for gas. Deceased is female Caucasian, mid 30’s, deceased for approximately 8 hours. They move past the truck driver being questioned by officers. As they reach the log truck, Dickerman whistles to his team - who all stop what they’re doing and to give Marshall some space. The woman from the opening, lies dead on the logs. DICKERMAN (CONT’D) Suffered multiple breaks, left arm, both legs, pelvis shattered. Didn’t die on impact, but given her injuries and the temperature - shortly after. Average truck speed of 40 mph. Estimate she landed from a height of plus 15 feet. Local officers gather around Marshall awaiting instruction. 9.

MARSHALL (To Officer) Check bridges along the drivers route, some may have CCTV. Dead for 8 hours, 40 mph average, that’s a 320 mile stretch. POLICE OFFICER (Approaching) Jumper right Chief, so it’s ours? Marshall stares at the dead woman, her clothing and gaunt face. By her left hand, the letters ‘TV’ have been scratched into the wood. MARSHALL She do that? Dickerman nods to Marshall as TV news crew vans arrive. POLICE OFFICER Ask and you shall receive. It’s what she wanted right.

INT. FORENSICS LAB, POLICE STATION, SEATTLE - AFTERNOON The dead woman’s naked body on a table. Marshall with Dickerman. DICKERMAN White blood cell count barely registered. Vit D at 0.06, C at 0.002. She had nutrients in her system but manufactured. MARSHALL Supplements? DICKERMAN Yes. Wrists show major sign of cartilage damage and have aged fractures at the hamate, scaphoid and trapezium bones. MARSHALL She was tied up. DICKERMAN And given birth control. And she was deaf. Cranium was in tact, but her inner ear drum suffered some form of pressurized trauma. 10.

INT. CORRIDOR, POLICE STATION, SEATTLE - AFTERNOON Marshall walks with COMMISSIONER HARPER, 75 with a heavy limp. MARSHALL She had her ear drums blown out. COMMISSIONER HARPER ID’d her yet? MARSHALL Not yet. This took a lot of patience, sustained dedication and the smarts to pull it off. Best case. Some guy was infatuated with her - crime of passion. They arrive at a department called CYBER CRIME, which feels hidden away at the back of the station. COMMISSIONER HARPER That’s romantic. Worst case, we got a guy out there with a bunch of women locked up. You’ve got a search area, start banging on doors. Hard. Find the fucker. What’s this got to do with Cyber? MARSHALL Non-related. Marshall takes a pill box out of his pocket hands it to the Commissioner. COMMISSIONER HARPER What’s this? MARSHALL Glucosamine. Help with your hip. COMMISSIONER HARPER Is it’s a single malt? MARSHALL No.

INT. CYBER SQUAD, POLICE STATION, SEATTLE - AFTERNOON Marshall enters to find the cyber team working in front of a wall of monitors and panels including: RACHEL TOWNEY, 35. Marshall sees her and can’t hide his disappointment. 11.

MARSHALL What are you doing here? RACHEL Nice to see you too. Rachel goes to hug Marshall, but it’s unwelcome. Two CYBER officers: JOHNNY QUINN 27 and GEORGE GLASGOW 31, who are surrounded by baby photos and general mess, instantly start cleaning up. QUINN Morning Sir. GLASGOW Sweet. Been wondering when you were gonna come and see us. Sir. Marshall’s more fixed on Rachel. MARSHALL You work Cyber now? RACHEL No. I’m an acting profiler. I guide their interaction with suspects online. You should spend some time with these guys, see what they’re doing. GLASGOW That’d be awesome. Marshall’s unmoved. RACHEL It’s delicate balance you know - coercing someone into revealing an agenda, without pushing them into one. Marshall stares at the monitors; hundreds of open chat profiles, data streams, system codes. GLASGOW There he is. That’s our guy. QUINN (Typing) I can’t get a hook on his interface. He’s buried into TOR. MARSHALL What’s TOR? 12.

GLASGOW The Onion dude. (Marshall not happy) Lieutenant. Sir. RACHEL The Onion Router. It’s a software, originally made the CIA so spies could communicate online - basically hides what you’re doing. But got into the open market, now anyone can use it. QUINN (Typing) This is our guy. Speech synapses at 68%. On the monitor - two profiles chat to one another. Rachel types on the key board, pretending to be a young girl ‘Hiya. Where ya been?’ MARSHALL I need you guys to check a few people out on my daughter’s facebook? RACHEL You’re in touch again that’s good. And Carol? How are things-? MARSHALL Stop. You and I, we don’t do that anymore. Marshall faces Quinn and Glasgow. MARSHALL (CONT’D) You gonna do it or not? Glasgow and Quinn nod as Marshall leaves. GLASGOW Did you guys? RACHEL No.

INT. MOTEL ROOM, SEATTLE - NIGHT Malcolm wakes in the motel bed. His hands are cuffed. His broken nose has been stitched up. Cooper hands a doctor exiting by the door an envelope of cash. Malcolm looks around - no sign of Lara. 13.

Cooper shuts the door and sits. A laptop next to him. Malcolm, panicked, goes to move, but he’s in pain beneath the bedsheets pulled high to his chest. MALCOLM What the fuck is this? Who are you? COOPER Calm down. Malcolm goes to move again, but his hands and legs are tied. COOPER (CONT’D) What’s happened to you has already happened. So calm down. Then we’ll talk. Then you can go home. MALCOLM I haven’t done anything wrong. Cooper gives Malcolm a “go fuck yourself, I know everything about you” look. Malcolm concedes. Cooper turns to his laptop, which is plugged into a second laptop. MALCOLM (CONT’D) That’s my computer. COOPER Ninety-four girls groomed. Looks like you met thirteen of them. Had sex with four, or is it more? MALCOLM I- I never forced any of them. COOPER There’s little difference between forcing yourself on someone and influencing a girl into submission. MALCOLM (In pain) What have you done to me? COOPER You have ninety-two thousand dollars in savings. Another eight in stocks. I need all of the girls names. MALCOLM I don’t remember. You’re right. I need help. I know I do. I’ll go to therapy, I swear. 14.

COOPER You don’t need that anymore and it doesn’t work anyway. Does your wife know what you’ve been doing? Malcolm really struggles but stops on seeing traces of blood seep through the bedsheet at his groin. COOPER (CONT’D) I take it that’s a no. MALCOLM Jesus, what the hell have you done to me? Cooper stands, puts a pen in Malcolm’s handcuffed hand and holds a checkbook to it. COOPER Sign this. Your savings will be divided amongst the girls you abused. Malcolm stares, fixated at the patch of blood by his groin. Cooper reaches into a bag and pulls out four pillboxes. COOPER (CONT’D) Take one, twice a day for the rest of your life. It’s called Lupron. A testosterone suppressant. Your doctor will prescribe it for you when you run out. MALCOLM What’s happening to me? COOPER I have disarmed you. It’s still there, but it’s now impossible for you to get an erection. I’ve also had your balls removed, but then you never had any in the first place. If you inform the police of your rehabilitation, which a couple of my former patients have been moronic enough to do. I’ll release the images you have poorly hidden on your computer to your entire address book. MALCOLM (Sobbing) This isn’t happening. Cooper gets up and throws the keys to the cuffs onto the bed. 15.

MALCOLM (CONT’D) Wait. I can’t reach them. COOPER You’re a regular here. I’m sure the staff will help.

INT. SOPHIA’S, MAIN RESTAURANT, SEATTLE - NIGHT Commotion as up market diners begin to realize all the waiting staff are standing sympathetically by the kitchen. On the wall - a photo of the deceased woman from the opening - ‘In Loving Memory of my wife Sophia Eluda’

INT. KITCHEN, RESTAURANT, SEATTLE - NIGHT MARCUS ELUDA, 44, Chilean owner and head chef is down on his knees sobbing as Marshall stands amongst a group of shocked kitchen staff. Marcus angrily slams his hands through a stack of plates, swearing at Marshall in Spanish. MARCUS You cops tried to blame me for her murder and she was alive the whole time. The whole fucking time! MARSHALL I’m sorry. I didn’t work your case. MARCUS Why not?! What else are you meant to be doing? MARSHALL Can we go somewhere? I need to ask you some questions, she may have had an admirer-. MARCUS You fucking piece of shit cops wasted months investigating me instead of looking for her. She was alive. After all these years, she was live-. Off Marcus sobbing we... Blue (mm/dd/yyyy) 16.

INT. MARSHALL’S CAR, COUNTRYSIDE, SEATTLE - NIGHT Marshall driving, Dickerman on speaker phone. DICKERMAN I found red maple seeds on the underside of her feet. MARSHALL Map the forestry along the freeway. DICKERMAN It’s in your inbox. Nine possible sites. Marshall using his monitor opens the map attachment. DICKERMAN (CONT’D) Go home. Get some sleep. We’ll get crews over to them in the morning. Marshall hangs up. Turns the car around and speeds off. *

EXT. COOPER’S HOUSE, SEATTLE - EARLY MORNING Establisher. Affluent, well kept, very modern house in the mountains. A beautiful mist hovers over the landscape as, a figure is seen walking through the glass walls inside.

INT. CORRIDOR, COOPER’S HOUSE - EARLY MORNING The figure. Lara yawning, half asleep walks through the corridor barefoot.

INT. OFFICE, COOPER’S HOUSE - EARLY MORNING Lara enters to find Cooper sitting at his desk. His office has several monitors linked to a main system with web pages open. Chat rooms show conversations with his fake profiles. COOPER Should still be hot. Cooper has made her breakfast and coffee. LARA Ah, you got the bread I like. Lara eats as Cooper types away. He’s exhausted but doggedly continues. 17.

LARA (CONT’D) When are you gonna get some proper furniture? COOPER You want somewhere nice to sit? I’ll get you a sofa. LARA I meant for you! In two years, you’ve only ever sat in that chair. There’s plastic over everything else. It’s weird - like - use stuff. You gotta big house with a bunch of locked doors. COOPER These are for you. Cooper hands Lara a set of earrings. LARA Ah, these are nice. COOPER There’s a transmitter in them. LARA Yeah. They’re not nice. COOPER They emit a signal that feeds off cell phones. As long as you’re near one, I’ll be able to track you. Just in case. Lara looking at Cooper’s monitor. A chat room profile, with her image as the user. LARA Urgh. Why’d you use that one? I look rough. Lara reads the dialogue in the feed. LARA (CONT’D) That’s kinda sexy. No, wait, you wrote that? Wow, look at you, you old stud. You should try using this stuff on someone with an actual vag. 18.

COOPER I’ve asked you not to talk like that. LARA I found something. Must have been sleep walking again. Cooper gives her a look. Clearly a conversation they’ve had before. LARA (CONT’D) Skateboard. Pretty cool one. You don’t strike me as the-. COOPER Yes. You may have it. If you look after it properly. I’m going for a swim. Cooper stands, stretching his back. Then grabs a pack of cigarettes from his desk top. LARA Hey. Those are mine!

EXT. GARDEN, COOPER’S HOUSE, SEATTLE - EARLY MORNING The electric cover to the pool winds back, as steam rises from the warm water. COOPER Must have found them, when I was sleep walking.

I/E. MARSHALL’S CAR, HUNTSMAN BRIDGE, SEATTLE - MORNING TAP TAP TAP. A police officer wakes Marshall, fast asleep with the front seat down. He slept in his car over night. OFFICER We’re ready sir. Marshall exits to find his forensic team already working on the bridge. He’s met by Dickerman. DICKERMAN You checked them all. Why this one? Marshall half asleep is handed a coffee by an officer. 19.

MARSHALL It’s isolated, long way on foot in the cold from either side. If she was being chased, jumping was her only option. Marshall stands where the woman jumped off the bridge. MARSHALL (CONT’D) She would have seen the truck coming, the drop’s far enough to know he wouldn’t follow. Dickerman’s team examining the bridge. DICKERMAN We won’t get much off this. Marshall faces the forestry on either side of the bridge, instinctively focusing on the side the woman emerged.

INT. CYBER SQUAD, POLICE STATION, SEATTLE - DAY Quinn at his workstation. Glasgow has his baby with him in a cot. Marshall enters without knocking. MARSHALL Where’s my file? I shouldn’t have to come and get it. QUINN Rachel. Er. Officer Towney wanted to go through it herself. MARSHALL Where is she? GLASGOW At lunch. MARSHALL At ‘lunch’. Whose baby is that? GLASGOW Mine. MARSHALL You bring your baby to work? GLASGOW When my parents can’t have her. Yes. Blue (mm/dd/yyyy) 20.

MARSHALL What-. Ah fuck it.

INT. GARAGE, POLICE STATION, SEATTLE - DAY Marshall paces through rows of parked police and SWAT vehicles. He emerges at the back of garage entrance to find a Porsche Cayenne SUV with it’s trunk open. Rachel and her husband ROBERT TOWNEY, 43 are sitting on the floor, having an impromptu picnic. Rachel’s been crying. RACHEL Walter? ROBERT (To Rachel) Walter? (To Marshall) Oh ‘the’ Walter Marshall. Hash-tag badass. Marshall ignores Robert. Instead noting the two glasses of wine in front of them and a bunch of flowers. It’s romantic, but feels forced. ROBERT (CONT’D) I’d pour you a glass, but therapy’s in session. You know how that works right? Robert laughs at his unsubtle dig. Marshall continues to ignore him. RACHEL (To Marshall) It’s OK we’re done. (To Robert) Thanks for the surprise. It was very sweet. ROBERT What?! I’ve only just got here. *

INT. CORRIDOR, POLICE STATION, SEATTLE - AFTERNOON Marshall walks with Rachel who carries her flowers. They walk together, saying nothing. An Officer sees Marshall. MISSING PERSONS OFFICER (To Marshall) File’s on your desk. 48 missing in 5 years. 12 unresolved. Marshall nods. Rachel continues to follow. 21.

RACHEL I caught him having an affair-. MARSHALL I don’t care. My daughter’s facebook? RACHEL I’ll have it over to you tonight. What do you mean, you don’t care? MARSHALL I can use different words. But it’ll mean the same thing. RACHEL Since when are you a prick? Marshall leaving Rachel in the corridor. MARSHALL You know why he gave you flowers at work? So everyone else sees them. INT. COFFEE SHOP, SEATTLE - AFTERNOON Lara sitting, waiting. She’s been there a long time: an empty plate of food, a coffee mug. Lara looks around - none are our guy. Frustrated, she dials her cell phone. LARA He ain’t coming. I’m bored, come get me. The waitress comes over with the cheque, with a look that says it’s not the first time she’s tried to move Lara on. LARA (CONT’D) Now I’m actually ready to leave. Thank you. WAITRESS Where’s your Pa? LARA In prison. The waitress unsure if Lara’s for real. WAITRESS Shouldn’t you be in school? LARA So I can grow up to be a waitress? 22.

WAITRESS You little bitch. LARA Stand up straight. You’ve got great tits, hefty ones. Show ‘em off. Lara leaves, as the annoyed waitress takes the compliment and stands a little straighter.

I/E. COFFEE SHOP, SEATTLE - AFTERNOON We follow Lara exit. As she leaves, a figure emerges behind her. ZAP - something is plunged into the back of her neck.

INT. COFFEE SHOP, SEATTLE - AFTERNOON Cooper walks through the coffee shop searching for Lara. He calls her, but her phone rings out. He approaches the waitress. COOPER There was a young girl in here? WAITRESS You mean that foul mouthed little thing? COOPER That’ll be her. WAITRESS You should be ashamed of yourself. She left already.

INT. COOPER’S CAR, SEATTLE - AFTERNOON Cooper gets in and opens his laptop. His software traces Lara’s location. The map shows she’s 4 miles away, now 4.1, 4.2. Cooper speeds off.

EXT. WOODS, SEATTLE - AFTERNOON Dickerman leads his team spread out across the forest line, searching for clues. DICKERMAN (ON PHONE) Nothing on the bridge itself, we got nothing here either. Yet. 23.

INT. MISSING PERSONS OFFICE, POLICE STATION, SEATTLE - AFTERNOON Marshall puts the phone down. He’s standing in front of a wall of images of missing people. Men and women. There’s a lot of them. Commissioner Harper with him, waiting. MARSHALL This is a lot of people. COMMISSIONER HARPER Why exactly am I here? MARSHALL Why is no one talking about this? COMMISSIONER HARPER Your job is to filter information and then present it. So, filter. Marshall thinks, then moves forward. He pulls down the male images. Females only. Then removes the older female images. COMMISSIONER HARPER (CONT’D) Agreed. Old people get lost easily. I wish I didn’t remember find my front door. MARSHALL Any suffer from mental illness? The Missing Person’s Officer points at three of the women, so Marshall pulls them down too. What’s left... is a wall of mostly brunettes, with similar features. The Commissioner leaving. COMMISSIONER HARPER I never cease to amaze myself.

INT. COOPER’S CAR, SEATTLE - EVENING Cooper following a car, his tracker indicating it’s THE car with Lara in it. He weighs his options, one of them is 911 ready to dial on his phone. Cooper’s gas tank warning light flickers ‘empty’ and then CRASH. Cooper’s hit by another car, causing his rear end to spin out. His car comes to a stop facing the wrong way.

EXT. CRASH LOCATION, SEATTLE - EVENING An Elderly Man gets out his car and rushes over to Cooper. 24.

ELDERLY MAN I’m so sorry, I didn’t see you.

INT. COOPER’S CAR, SEATTLE - EVENING Cooper trying to pull away, but the Elderly Man’s opened his drivers side door. ELDERLY MAN Are you hurt? I’m so sorry. COOPER Get out of the way! Cooper shoves him away, but the Elderly Man is insistent. The car carrying Lara disappearing from sight. ELDERLY MAN You’re in shock. It’s OK. Cooper puts his car into reverse and slams on the accelerator. His engine REVVS but he’s going nowhere fast. Cooper goes to move his gear into drive. But the Elderly Man won’t piss off. ELDERLY MAN (CONT’D) HELP. Someone help. COOPER MOVE! A police car is driving by. The Elderly Man is shoved by Cooper, he stumbles back and tries to flag down the police car. ELDERLY MAN He pushed me! Ouch. Cooper trying to pull away, the police car blocks him. An Officer gets out as the Elderly Man feigns innocence. ELDERLY MAN (CONT’D) He pushed me. I think he’s drunk. POLICE OFFICER Step out of the vehicle please. Cooper trying to pull away still. The indicator for Lara pings as she’s getting further and further away from him. POLICE OFFICER (CONT’D) GET OUT OF THE CAR NOW! 25.

COOPER You don’t understand. Cooper refuses to get out. So the Officer draws his GUN. POLICE OFFICER Get out of the vehicle. Face on the floor. NOW!

EXT. MARSHALL’S APARTMENT, SEATTLE - NIGHT Marshall arrives home. His phone rings, he looks at it and ignores it. FAYE (O.S.) You asshole. Faye holding her phone, waiting for Marshall. MARSHALL How do you know-? Your Mom doesn’t even have my address? FAYE I called your office and told them I was lost, but had a spare key. MARSHALL That was clever of you. FAYE I know.

INT. MARSHALL’S APARTMENT, SEATTLE - NIGHT Marshall enters somewhat embarrassed with Faye. His apartment has unpacked boxes everywhere. FAYE Didn’t you move in like a year ago? Faye goes for the fridge. MARSHALL It’s empty. Marshall takes a piss and leaves the bathroom door open. Faye ignores him and inquisitively looks in all the rooms. Marshall stays there, but doesn’t live there. 26.

FAYE No wonder you wouldn’t let me come over. MARSHALL You do what you gotta do. I do what I gotta do. FAYE I wanna do pizza? Faye notes one of the walls is covered with homicide cases - images of deceased victims, evidence etc. Marshall goes to pull her away, but stops himself - maybe now she’ll leave. MARSHALL I told you Faye. You don’t want to spend time here. Faye’s scared but doesn’t let it overwhelm her. FAYE You’re like, living in the past. Or refusing to live in the present or something. Don’t you want a proper home? MARSHALL I gotta go back to work. FAYE You know for a grown up, you can be pretty childish. E/I. BATHROOM, MARSHALL’S APARTMENT - NIGHT Marshall turns the shower on and closes the door. He stares at himself in the mirror, hating what he’s doing. Moments later. Marshall opens the bathroom door, but Faye’s gone, the front door wide open. Defeated he stares at his apartment, as a stranger would someone else’s home. He grabs a change of clothes and leaves.

INT. MARSHALL’S OFFICE, SEATTLE - NIGHT Marshall freshly showered, gets redressed. His lounge chair in the office has a pillow on it. He sees a file on his desk, the Cyber report from Rachel with a note: 27.

‘It’s clean. Couple of people to keep an eye on. It’s OK to let her in, always was.’ Marshall thinks, then dials the phone. MARSHALL Towney still here? Marshall hears a ‘yes’, grabs a bottle of whiskey from his drawer and two glasses.

INT. CORRIDOR, INTERVIEW ROOM, POLICE STATION, SEATTLE - NIGHT Marshall walks past the interview room hearing shouting. Through the glass, he sees an irate Cooper being interviewed by Rachel. COOPER (THROUGH THE GLASS) 98’ Lokinson vs. State of Alabama, Officer Hertbord found guilty of negligence causing the death of Casey Monroe. RACHEL For the last time Mr. Cooper we sent a squad car to the area your tracker highlighted, but the signal stopped. COOPER Bullshit. RACHEL My colleagues have some questions about the equipment in your car. Marshall approaches to find Commissioner Harper watching on as Quinn examines Cooper’s laptop. QUINN He’s running hundreds of profiles, through layer upon layer of TOR codes. State of the art piece of kit. MARSHALL I recognize him. COMMISSIONER HARPER He was a judge. Retired now. But handled a lot of our criminal cases. 28.

COOPER (THROUGH THE GLASS) There is a young girl out there who has been abducted-. RACHEL (THROUGH THE GLASS) We can’t go knocking down doors until she’s reported missing by her next of kin. Which you are not. MARSHALL What’s he talking about? COOPER Her fucking life’s on the line right now. Right this second. And we are here. TALKING. Cooper gets up and thumps the GLASS. COOPER (CONT’D) Get out there and FIND HER! QUINN He fitted some girl with a tracker and was using her to bait some predator, but she’s disappeared and the signal’s died. MARSHALL (To Quinn) Show me. Quinn on Cooper’s computer, which shows the last location of Lara’s tracker. Marshall recognizes the area and we...

INT. INTERVIEW ROOM, POLICE STATION, SEATTLE - NIGHT Marshall bursts in holding Cooper’s laptop. MARSHALL The tracker. How does it work? Cooper looks at Marshall relieved. MARSHALL (O.S.) (CONT’D) Cell phones.

INT. CONTROL ROOM, POLICE STATION, SEATTLE - NIGHT Marshall debriefing all the officers on duty, including Rachel, Commissioner Harper and Quinn. 29.

MARSHALL Get as many as you can. Officers hand over their personal cell phones to Rachel. MARSHALL (CONT’D) There are 26 houses in an 8 mile radius north of the Huntsman Bridge. Marshall on the map near the bridge and forest - 26 houses in isolated locations.

EXT. POLICE STATION, SEATTLE - NIGHT Police cars, including Marshall’s speed out of the station.

INT. MARSHALL’S CAR, FREEWAY, SEATTLE - NIGHT Marshall with Rachel up front, holding Cooper’s lap top. MARSHALL (O.S.) The tracker on the missing girl only signals when it’s within fifty feet of a cell phone.

EXT. HUNTSMAN BRIDGE, SEATTLE - NIGHT Marshall’s car speeds over the bridge, followed by several police cars, who all turn off their flashing lights and sirens once they cross it and head in different directions.

EXT. HOUSE, COUNTRYSIDE, SEATTLE - NIGHT A police car outside a country mansion with large gates. The officer tosses a cell phone over the wall into the grounds. MARSHALL (O.S.) Do not let the home owners know of your presence.

EXT. HOUSE, COUNTRYSIDE, SEATTLE - NIGHT Another officer tossing a cell phone over a wall into the grounds of a large house. MARSHALL (O.S.) Or you risk the life of the girl. 30.

INT. MARSHALL’S CAR, COUNTRYSIDE, SEATTLE - NIGHT Marshall driving. Rachel watching Cooper’s laptop, waiting for a signal to beep. MARSHALL (O.S.) And anyone else he may have.

EXT. HOUSE, COUNTRYSIDE, SEATTLE - NIGHT An officer tosses another cell phone over a large wall into the grounds.

INT. MARSHALL’S CAR, COUNTRYSIDE, SEATTLE - NIGHT Marshall with Rachel, who reacts to seeing the locator start beeping.

EXT. GRAND HOUSE, COUNTRYSIDE, SEATTLE - NIGHT Police quietly moving in on the property. Some at the front gates, others move along the walls of the grounds. NB. This is the house Sophia escaped in the opening. Marshall with a nervous Rachel. RACHEL I don’t have a firearm. MARSHALL You’re not a field agent. Stay outside the grounds. You can talk about this stuff, but it’s another thing to see it, to smell it. RACHEL I can handle it. MARSHALL What are you trying to prove? RACHEL I. I’m not useless. Rachel saying it to herself more than Marshall. MARSHALL That’s on you. (Tapping her head) Up there. You can’t bring that shit into the field. 31.

Marshall whispering on the radio. MARSHALL (CONT’D) All units check in. Several ‘ready’ sound off. Rachel watching on. RACHEL If this guy’s tech savvy, he’s bound to know when your guys leap over his walls? Marshall thinks. MARSHALL (Into the radio) Hold positions.

EXT. FOREST, GRAND HOUSE, SEATTLE - NIGHT Marshall with a small flash light looking at the tree line where Sophia escaped. Tracing her steps, he turns to the fence lining the house and moves along it. Marshall finds the hole in the ground Sophia escaped through. It’s been poorly refilled. He pulls himself under and through it.

EXT. INNER GROUNDS, GRAND HOUSE, SEATTLE - NIGHT Marshall looks up at the house, only a couple of lights on. Weapon raised he darts quietly across the lawn to a window. MARSHALL (ON THE RADIO) I’m in. Wait for my go to breach.

INT. GRAND HOUSE, SEATTLE - NIGHT Marshall enters through a window and raises his weapon. The house is lived in, but in a very cold, minimalist way. Boom. Boom. Boom. Music. But not music as we know it. A roaring, echoing orchestral sound that vibrates throughout the house. Marshall passes a dining room where two places are set for dinner. Then... a light at the end of a long corridor where SIMON STALLS, 25, child like face that won’t age, playfully slides across the floor wearing socks. Marshall, weapon raised, watches him for a beat. Simon thumps his fists in the air, out of rhythm to the music. 32.

Simon’s behavior is uncomfortable. He sings, not words, but sounds. He disappears back into the room with a light on. MARSHALL (INTO THE RADIO) (Whispering) I have eyes on target. Hold to breach. Marshall moves silently along the corridor, staying in the shadows. He reaches the doorway.

INT. ENTRANCE ROOM, SIMON’S HOUSE, SEATTLE - NIGHT Marshall enters weapon raised, expecting to find Simon and hopefully Lara, but it’s empty. Wooden cabinets line the walls, full of books, paintings and old maps. NB. This is the room Sophia escaped in the opening. The boom boom boom orchestral sounds continue as Marshall feels the side of the wall for vibrations. He finds the hidden door and lever and pulls it open to find... stairs.

INT. BUNKER, SIMON’S HOUSE, SEATTLE - NIGHT Marshall steps downstairs into an underground basement. It’s a long tunnel with metal doors on either side. Aiming his flashlight down the end of the corridor he finds Simon staring straight at him. Marshall raises his weapon. MARSHALL Down on the ground! Boom boom boom. Dust falls from the ceiling as the music echoes from the speakers. Simon’s terrified by the sight of Marshall and is frozen stiff. MARSHALL (CONT’D) Police, get the fuck down. Simon starts crying like a child being told off and buries his head in his hands. A noise behind Marshall. He flips around, weapon and flashlight raised. No one there. He turns back to Simon. MARSHALL (CONT’D) GET THE FUCK DOWN. Simon weeps and raises his arms to Marshall as if asking for a cuddle. Marshall cracks him in the face knocking him out. Marshall flashlight in hand looks into the room - Lara, unharmed but bound by a chain from the ceiling. 33.

MARSHALL (ON THE RADIO) (CONT’D) Breach. Get paramedics down here. Marshall releases Lara and looks around the room. It’s a makeshift prison cell. A sink. A toilet. A bed. A bowl. Marshall cuffs the unconscious Simon on the floor. He looks down the corridor, realizing there are several other cells. Marshall unbolts the nearest one - a woman in her thirties, skinny, pale and weak, sitting on the floor. MARSHALL (CONT’D) Jesus. Marshall rushes to her and tries to free her. The chains are locked - he doesn’t have a key. MARSHALL (CONT’D) It’s OK. I’m here to help you. The woman looks at Marshall, not believing he’s real. Boom boom boom. Marshall gets back in the corridor, finds the speaker system and slams his foot through it. He unbolts another door, another woman. Police enter the bunker. Rachel with them can’t believe her eyes.

INT. MARSHALL’S APARTMENT, SEATTLE - EARLY MORNING Marshall, emotionally and physically exhausted arrives home. He throws his keys down expecting them to hit a box but they don’t. Faye has moved him into his apartment. Furniture has pillows, boxes are unpacked and photos line shelves. Marshall finds Faye asleep on the sofa. He picks her up, carries her to his bedroom, which has also been made with clean sheets. He puts her in and stares at her proudly. Then realizes he’s got blood and mud on her shirt, from his clothes and hands.

EXT. MARSHALL’S APARTMENT, SEATTLE - EARLY MORNING Marshall, desperate to sleep gets in his car, winds the seat down and shuts his eyes. 34.

INT. LIVING ROOM, RACHEL’S HOUSE, SEATTLE - EARLY MORNING Rachel on the sofa, a blanket pulled over her. Robert comes downstairs, fresh faced and suited. ROBERT There you are, I wondered where you were? RACHEL You could have called to ask. ROBERT I would have if I was awake. Robert pours himself a coffee. RACHEL I didn’t want one thank you. ROBERT What? You looking for a fight? I got a big day, so if you’ve got stuff you wanna talk about, save it for therapy. RACHEL Fuck therapy. ROBERT Ha. I guess it doesn’t count if all the patients are fucked up cops? RACHEL What’s that on your finger? ROBERT (Feigning) I was wondering when you were gonna notice. I got a second wedding band. It’s called a promise ring. Robert sits with Rachel, who nudges away from him. ROBERT (CONT’D) Come here. I was going to do this over dinner but. This is my promise to you, a renewed vow. To be faithful and true, for the rest of my life. I love you so much... even when you look like shit. Robert kisses Rachel, who sits vacantly as he leaves. 35.

POLICEWOMAN (O.S.) Do you remember when you were taken?

INT. BUNKER, SIMON’S HOUSE, SEATTLE - MORNING Police turn generator lights on which illuminate the bunker. It’s an unwelcome, eerie sight. POLICEWOMAN (O.S.) Do you know how long you’ve been in captivity?

EXT. SIMON’S HOUSE, SEATTLE - MORNING Police have camped out in the driveway. Forensics officers carry bags of evidence; metal chains, clothing, bowls, cutlery, a computer system, random corn stalks and toys.

INT. CYBER SQUAD, POLICE STATION, SEATTLE - MORNING Quinn and Glasgow and are handed Simon’s computer system. POLICEWOMAN (O.S.) Do you remember how you first made contact?

INT. HOSPITAL, SEATTLE - MORNING The five female victims together on the ward, in different beds. Each being interviewed by officers, whilst receiving medical attention. POLICEWOMAN Was there anyone else in the house with him? The policewoman speaks whilst writing the question on an IPAD. The survivor, JULIE, 22 shakes her head no. Marshall leaning in the doorway is approached by the doctor. DOCTOR They’re deaf. All suffered the same trauma to the head. In the corridor outside, Cooper sprints past Marshall. 36.

INT. CORRIDOR, HOSPITAL, SEATTLE - MORNING Cooper is embraced by Lara. Marshall turns and watches on. COOPER Are you OK? LARA I’m fine. He didn’t touch me. Lara so full of bravado suddenly cries in relief in Cooper’s arms. Cooper equally relieved. Marshall moves to them. COOPER (To Lara) I’m so sorry. MARSHALL You should have a serious think about what you’re doing. The danger you put her in. Can you imagine if we hadn’t of found her? Cooper stares at Lara, maybe Marshall’s right. LARA Fuck you dude. Imagine what would have carried on happening, if WE hadn’t of found him? COOPER Let’s go home. Cooper takes Lara into his arms. But she’s increasingly agitated by the sight of Marshall and police. LARA Useless. You’re all useless. Cops don’t stop anything. You just turn up after it’s already happened. Lara cries traumatic tears from personal experience. Cooper consoles her. Off Marshall’s reaction... RACHEL (O.S.) Simon Stalls.

INT. INTERROGATION ROOM, POLICE STATION, SEATTLE - MORNING Rachel sits opposite Simon as two armed police stand guard. RACHEL Is your name Simon Stalls? 37.

Simon stares at Rachel’s mouth as she talks, then his eyes inquisitively wander over her body, which pisses her off. RACHEL (CONT’D) Simon Stalls. Born 1989. Sole proprietor of 42 Maggy Lane. For the record, you have been read your rights and are aware that anything you say or do may be used against you in a court of law. Would you like the state to provide you with an attorney? Simon timidly shakes his head no. Then starts humming to himself.

EXT. EXTERNAL INTEROGATION ROOM, POLICE STATION, SEATTLE - DAY Commissioner Harper and Marshall watching on through the glass are approached by Dickerman, who hands Marshall a plastic case containing an air pump. DICKERMAN Pressurized air valve, custom made and old. That’s why there wasn’t any damage to the cranium. The rush of air damages soft tissue not bone. RACHEL (THROUGH THE GLASS) You’ve caused a great deal of pain to a lot of people. The best thing you can do now, is help us. Simon humming to himself. COMMISSIONER HARPER (To Marshall) He’s very comfortable in there.

INT. INTEROGATION ROOM, POLICE STATION, SEATTLE - DAY Marshall enters behind Simon, who continues to mumble and hum to himself, ignoring her. RACHEL Simon? Marshall standing behind Simon, who hasn’t turned to around to see him. SMACK. Marshall dumps the air pump on the desk. 38.

Simon turns in shock to see Marshall there and instantly backs away to the corner of the room like a scared child. He starts shaking his head crying. MARSHALL All the women are deaf. That’s how he did it. Rachel staring at the pump. Simon won’t look at Marshall. SIMON Go away, go away. Simon’s spoken word is off, out of tune. RACHEL Walter give me a minute please. MARSHALL (To Rachel) You asked to be in here. Marshall leaves, causing Simon to look up at Rachel who taps on the table. RACHEL It’s OK. You’re safe. Come and sit down. Simon stares at the air valve on the desk and shakes his head. Rachel removes it from the table. RACHEL (CONT’D) (To herself) You’re scared of it. Simon looks down at his shoes. RACHEL (CONT’D) Simon. Simon? Simon ignores her - or rather... RACHEL (CONT’D) (To Simon) You can’t hear me can you? Rachel uses her hands to get his attention, then points at her lips as she talks, over-pronouncing her words. RACHEL (CONT’D) I’m Rachel. It’s OK. Come and sit. Simon stands and slowly sits with her. 39.

SIMON Rachel. RACHEL Is your name, Simon? Simon nods and smiles, then starts humming to himself. SIMON Simon, mon, bon, con, som, tom, too, to, to. Simon takes a word and gets lost in it’s pronunciation. In his own little world. Rachel taps on the desk, causing Simon to look up at her and whisper. SIMON (CONT’D) Where am I? Please take me home. I love me so much. So, so much. Where am I? COMMISSIONER HARPER (O.S.) Is he fucking retarded?

INT. EXTERNAL INTERROGATION ROOM, POLICE STATION, SEATTLE - AFTERNOON Marshall with Commissioner Harper watching on. MARSHALL I think the official term you’re looking for-. COMMISSIONER HARPER -is fucking retarded. An officer hurriedly approaches. OFFICER Sir, we got a situation at the hospital.

EXT. HOSPITAL, SEATTLE - AFTERNOON Crowds of news reporters and civilians fill the entrance to the hospital. The police do their best to keep them at bay. REPORTER Getting reports that several women, some of which have been missing for years have been found alive. 40.

REPORTER 2 Police are yet to make a statement, but we are hearing that a middle aged male suspect is in custody. A car speeds into the front of the hospital. A man, MICHAEL COLLINS, 43, leaps out of his car, leaving the door open. MICHAEL SARAH?! The reporters surround Michael. MICHAEL (CONT’D) Is my wife in there? Michael’s distraught, trying to break through the crowd. MICHAEL (CONT’D) Get out my way. Sarah! REPORTER We could be about to witness a moment of reunion. A police officer under pressure from the cameras, lets Michael through the barricade. As he disappears into the hospital a second car arrives as another eager man leaps out of his car.

INT. VICTIM ROOM, HOSPITAL, SEATTLE - AFTERNOON Michael enters, much to the displeasure of the medical staff and police tending to the victims. He pulls back the privacy curtains one by one desperately searching. MICHAEL Sarah? PLEASE GOD. SARAH!? He pulls back the curtains of last bed. A survivor stares at him - it’s not his wife. MICHAEL (CONT’D) Where is she? NURSE Please calm down. What is your wife’s name? 41.

An Elderly Man quietly enters the ward - it’s the same man who crashed into Cooper’s car. He walks through the ward, as Marshall rushes in. MICHAEL Sarah. Sarah Kenner. She went missing four years ago. Please tell me she’s here? The nurse shakes her head. MARSHALL You can’t be in here like this. These women have been through hell and you’re running around yelling. MICHAEL No. No. She must be here. A couple of reporters have managed to sneak in. Camera flashes erupt. Michael breaks down crying, as another man arrives. MARTIN, 64. He doesn’t need to call his daughters name. He runs into the room and instantly sees, JULIE, 22. JULIE Dad? They desperately embrace as the room momentarily pauses as they all share in their reunion. Marshall can’t help take a beat and watch the embrace - an unwavering, undeniable father, daughter bond. Suddenly the other victims get out their beds and rush to the corridor calling for their loved ones.

INT. CORRIDOR, HOSPITAL, SEATTLE - EVENING Panic ensues as the victims realize none of their family are waiting for them. As the new crews snap pictures and film, the Elderly Man quietly exits, with nostalgic tears rolling down his stammering face.

INT. EXTERNAL INTERROGATION ROOM, POLICE STATION, SEATTLE - NIGHT Rachel staring at Simon through the glass. Simon rests against one of the walls with a mirror. Marshall enters, clean shaven and somewhat fresh faced given the circumstance. 42.

RACHEL He’s stared at himself for three hours without moving. MARSHALL It’s called guilt. RACHEL I majored in psychological trauma. I can’t get a read on him. He’s impaired but, it’s more social than physical. Akin to a childhood disintegrative disorder. Even Asperger's. MARSHALL You want the good news or bad? Rachel faces Marshall, noting his attire. RACHEL Bad. MARSHALL We’ve found a lot of remains in the house. You need to get into his head and find out what he’s done. Lot of families out there need closure. RACHEL And the good news? MARSHALL He’s shit scared of me so I can’t help you. I need to eat and sleep for a week. RACHEL You get all dressed up for your pillow do you? Cook for her, whoever she is. Anyone can order take out. Marshall leaving. RACHEL (CONT’D) Suddenly I’m jealous. I don’t want to be here or at home. MARSHALL Now you sound like a cop. 43.

E/I. SIMON’S HOUSE, SEATTLE - NIGHT Lights set up as they work through the night collecting evidence. Dickerman is debriefed by a forensic analyst as they walk back to the house. FORENSIC ANALYST DNA count is up to 14. 6 more sets of bones fragments, we’re running diagnostics. Bones are laid out on plastic mats over the ground. Old toys and dried out corn stalks. They enter the house toward the bunker entrance. DICKERMAN The stalks? FORENSICS Gerontologist estimates the oldest batch was over 15 years old. There are 4 collections. Dickerman leaves his analyst who enters the bunker. As he heads down the steps, we see that the door has a small electric compartment at its hinges. It flashes red. A small motor begins to close the door behind him. SLAM. And we...

INT. MARSHALL’S APARTMENT, SEATTLE - NIGHT Sizzling. Marshall cooking for a surprised Faye. His kitchen transformed. FAYE Since when do you cook? MARSHALL I used to cook for your mother all the time. Just haven’t had a reason to for a while. You don’t do your hair all nice when no one’s going to see it do you? FAYE Yes. MARSHALL Bad example. Marshall serves the dishes and sips his wine. MARSHALL (CONT’D) So. 44.

FAYE So. (Beat) Mom thinks you’re having a mid life crisis. MARSHALL Your mother, always has an opinion. The point of this (the food), is so you can make your own mind up. I’m trying to - I’m going to - change our relationship. I’d like us to have one. FAYE Why? I mean, good. But like, why now? MARSHALL Some people don’t get to see their kids. I don’t want to waste that anymore. FAYE But Mom never stopped you seeing me? MARSHALL No she didn’t. I did.

EXT. FAYE’S HOUSE, SEATTLE - SUNSET (FLASHBACK) Marshall just arrived home. Covered in sweat and tactical SWAT gear. A very nervous Carol sitting by the front door, relieved he’s home. MARSHALL (O.S.) I moved departments to save my relationship with your Mom.

EXT. ALLEYWAY, SEATTLE - NIGHT (FLASHBACK) Busy crime scene. Marshall, now a Detective is shown a dead body hidden in the trash - we see the young victim’s feet. MARSHALL (O.S.) But where I ended up. Ruined my relationship with you. The sight has an effect on Marshall, he’s not numb to it yet. 45.

INT. LIVING ROOM, FAYE’S HOUSE, SEATTLE - NIGHT (FLASHBACK) Marshall home. Watching Carol and a young Faye watching TV, eating pizza. Marshall’s distant.

INT. B.S.S. OFFICE, POLICE STATION, SEATTLE - DAY (FLASHBACK) Marshall in a waiting room. The sign on the door reads ‘Behavioral Science Services’. He’s met by the Counsellor, Rachel. They shake hands. MARSHALL (O.S.) I even tried therapy.

INT. MARSHALL’S APARTMENT, SEATTLE - NIGHT Mid meal. Marshall sitting with Faye. MARSHALL Can you imagine me in therapy? Faye laughs. FAYE You hate talking. MARSHALL (Smiling) I’m more of a sit back and listen to everyone else talk. FAYE I always thought you didn’t like me. MARSHALL I didn’t want to. Your Mom was leaving me and I couldn’t separate you two. I moved around so much - house, job. Got a bit lost I guess. I latched onto the one thing I could be good at you know. My work. FAYE Were you worried something bad would happen to me? MARSHALL Actually, not really. But having you, knowing you were out there. Made everything personal. It messes with your head. I couldn’t see it. 46.

Marshall sips his wine. Faye looks a little lost. MARSHALL (CONT’D) You know when you can’t sleep and even though the lights are off, you can still see in the dark? FAYE Yeah. MARSHALL But if you turn the light on and off. You can’t see in the dark anymore. FAYE Yeah. I do it sometimes when I get scared. MARSHALL Well people I chase live in the dark. I can see them really easily, until you show up, because you’re the light.

INT. MARSHALL’S BEDROOM, APARTMENT, SEATTLE - NIGHT Marshall puts Faye to bed and goes to leave. FAYE Sleep next to me Dad. MARSHALL I don’t sleep so good. Faye grabs Marshall’s hand and pulls him to sit with her. FAYE What were you like when you were my age? MARSHALL My big brother and I, he died before you were born. We’d run and up down the beach all day and just fall asleep in the sand. Then wake up in the middle of the night and be in big trouble. Faye using her phone Youtubes the sound of waves and forces Marshall to lie down - within moments he’s fast asleep. 47.

INT. BASEMENT DOOR, SIMON’S HOUSE, SEATTLE - NIGHT Over the sound of waves crashing against the sand... Commissioner Harper and Dickerman oversee desperate policemen, who smash a metal door buster into the locked basement door.

EXT. POOL, COOPER’S HOUSE, SEATTLE - NIGHT The lights in the pool are turned on. Illuminating Cooper in a robe, waiting to get in. Cooper kneels down by the side of the water, holds his fingers pensively just above it. As he dunks his finger in the water we...

INT. BASEMENT DOOR, SIMON’S HOUSE, SEATTLE - NIGHT CRASH. The echoing thud of metal on metal, as the sound of waves continue to lap against the sand. The police holding the door buster take another swing.

EXT. POOL, COOPER’S HOUSE, SEATTLE - NIGHT Cooper solemnly floating in the water. Arms stretched out like a star fish. Breathing deeply. He opens his eyes, starring up at the star filled sky, almost reaching out. And we...

INT. BASEMENT DOOR, SIMON’S HOUSE, SEATTLE - NIGHT WHOOSH... The door buster breaks the metal door, causing a vacuum of air.

INT. BUNKER, SIMON’S HOUSE, SEATTLE - MORNING Officers rush in holding flashlights and find their colleagues dead on the ground.

E/I. INTERVIEW ROOM, POLICE STATION, SEATTLE - MORNING Commissioner Harper bursts through the door where Simon sits opposite Rachel and Quinn, who has Simon’s laptop on the desk. Commissioner Harper throws Simon up against the wall. 48.

COMMISSIONER HARPER What else is down there? RACHEL What are you doing? Simon yells and shuts his eyes afraid. COMMISSIONER HARPER He rigged the fucking basement. I just lost six men. Several other officers burst in and attack Simon. Quinn watching the commotion, doesn’t see that the camera on Simon’s laptop turns on. RACHEL (To Harper) STOP THEM. COMMISSIONER HARPER Enough. I said ENOUGH. The officers release the bloodied, crying Simon. COMMISSIONER HARPER (CONT’D) What else is down there? Simon cries like a baby. For a moment each of the officers stare at Simon - this isn’t a man, or an adult. He’s ill. Rachel kneels beside him and lifts his eyes to hers. RACHEL Simon. This is not a game. “Game” makes Simon sit up. He demeanor changes, he’s excited. SIMON It is a game. The entire room pauses. Simon’s shift makes everyone uneasy, convincing as a child and yet is he just fucking with them? COMMISSIONER HARPER Say that again. SIMON (Figuring out the rhyme as he speaks) It’s time to play a game. Coz you all look the same but, but, before we, before we light-. Simon stops, looking around the room at men. Rachel moves to Simon and covers his eyes playfully. 49.

RACHEL Everyone out quickly. They leave. Rachel pulls Simon’s face to hers again, keeping the intimacy. RACHEL (CONT’D) Keep going. You’re doing so well. SIMON Before we turn on, no, before we light the fire. We have a make a. (Stops rhyming) No, no, no. I’m not as good as me with the words. RACHEL Teach me how to play. SIMON You turn around and around and around until you get lost. So much your head will hurt. RACHEL And who’s playing?

INT. CORRIDOR, COOPER’S HOUSE - EARLY MORNING Lara picking the lock of one of Cooper’s many locked doors. SIMON (O.S.) Everyone plays.

INT. BEDROOM, COOPER’S HOUSE - EARLY MORNING Lara enters. Dust everywhere. We’re in Cooper’s deceased daughter’s bedroom. Photos and school pictures everywhere. Lara finds a family picture of Cooper, his wife and two daughters. SIMON (O.S.) Caught in a trap. Caught like a doggy. On the floor. Clothes. A school bag. A moment in time completely frozen. Lara sees her feet are leaving marks - it’s not that she’ll be found out, more she’s interrupting a memory - shes backs away. 50.

INT. SIMON’S CELL, POLICE STATION - EARLY MORNING Rachel putting Simon to bed. SIMON Doggy. Doggy. Doggy. They bark and bite and scratch. Good boy. Woof, woof, woof.

INT. FEMALE LOCKER ROOM, POLICE STATION - EARLY MORNING Rachel, exhausted, defeated puts towels down on a bench. She lies on it and closes her eyes. SIMON (O.S.) Let’s see who gets out.

INT. MARSHALL’S BEDROOM, APARTMENT, SEATTLE - MORNING Marshall wakes from the best sleep he’s had in years. On the bedside table a note from Faye ‘gone to school.’ Marshall checks his phone - ‘what the fuck?’

EXT. POLICE STATION, SEATTLE - DAY Marshall arrives, driving through a mass of press crews outside the station.

INT. EXTERNAL INTERROGATION ROOM, POLICE STATION, SEATTLE - DAY Rachel with wet hair, interviews Simon. Breakfast laid out in front of them. Marshall arrives and stands next to a pissed off Commissioner Harper. COMMISSIONER HARPER You sleep OK? MARSHALL I did actually. Through the glass. SIMON No. But sometimes I get a cake and presents to surprise myself. RACHEL And who decides when that happens? 51.

SIMON I do. RACHEL Which means you must know when your birthday is? SIMON I don’t know otherwise it wouldn’t be a surprise silly bean.

INT. INTEROGATION ROOM, POLICE STATION - MORNING Simon takes water from his cup, puts it in his hands and wets his hair like Rachel’s. RACHEL We found cash in your house. A lot of it. But your bank statement doesn’t show any withdrawals. Where did you get it? SIMON Cash bash smash cash trash mash train smash. Finders keepers, losers bleepers. RACHEL Where did you get the money? SIMON In a trunk, monk, funk, bunk. Outside the front smoore, bore, door. Front door. Simon offers Rachel a bagel. RACHEL Someone brings you money? SIMON Santa Claus. (Singing) Riding through the snow, on a one-. RACHEL Simon who brings you money? SIMON Santa Claus. RACHEL How many times have you seen him? 52.

SIMON He comes at night when I’m asleep and rushes off. WHOOSH. RACHEL Tell me about your mother. SIMON She’s dead. I miss Mommy. She didn’t love me. No, she did love me. I can never make my mind up. RACHEL Did she ever hurt you? SIMON (Angry) NO.

INT. EXTERNAL INTERROGATION ROOM, POLICE STATION, SEATTLE - MORNING Marshall watching on, grabs a nearby Officer. MARSHALL Get me everything you can on his mother. Through the glass. SIMON I would cry when she cried and she cried all the time. Day and night and day again. It was better when I couldn’t hear anymore. RACHEL How did you lose your hearing? You weren’t always deaf were you? Simon rushes to his own reflection in the mirror. Commissioner Harper presses a buzzer. Rachel exits and joins them. COMMISSIONER HARPER I want to get him to court. The longer this drags on, the worse it gets. Let’s end it. RACHEL There are elements of paranoid schizophrenia-. 53.

COMMISSIONER HARPER Stay away from anything that hints at insanity. Is there anything else in that house? That’s it. The end. Commissioner Harper leaves. MARSHALL He’s right. RACHEL I need more time. He refers to himself in the third person. He has multi-personality traits each with their own realities. I’m not sure how many he’s created. Or if he’s aware of them. MARSHALL I think he’s fucking with us. Marshall moves close to Simon’s face, leaning up against the glass. An inch from one another. MARSHALL (CONT’D) How else can someone like this, do what he’s done, to so many people-.

I/E. POLICE STATION, SEATTLE - SUNSET Quinn leaves for the evening, carrying Simon’s computer with him. He gets in his car. MARSHALL (O.S.) For such a long time. And never get caught? BOOM... The car explodes.

EXT. CAR PARK, POLICE STATION, SEATTLE - NIGHT The police force grimly watch Quinn’s burning vehicle. Marshall with Commissioner Harper, Rachel and a crying Glasgow. COMMISSIONER HARPER Rules just changed. RACHEL (To Marshall) What does he mean? And we... Hear blaring police siren. 54.

EXT. STREETS, SEATTLE - SUNRISE Police cars, a lot of them, speed down a street. COMMISSIONER HARPER (O.S.) Every gang banger. Pimp. Snitch.

EXT. HOUSE, SEATTLE - MORNING Police arrest TIM SWOON, 50, who walks his two kids to his car for the ride to school. COMMISSIONER HARPER (O.S.) Sex offender.

INT. REHAB CENTER, SEATTLE - EVENING A group of men of various age and race sit together in a circle for therapy. Several armed police enter. COMMISSIONER HARPER (O.S.) Convicted paedo.

INT. POLICE STATION, SEATTLE - AFTERNOON Commissioner Harper talking to his police force, who sit together and listen. COMMISSIONER HARPER Turn them all over. Because whoever Simon Stalls is, he’s getting help.

EXT. COOPER’S HOUSE, SEATTLE - DAY Rachel with Glasgow banging on the door. Cooper’s car not in the driveway. Lara opens the door, eating from a cereal box. LARA Who the fuck are you? GLASGOW That’s not nice. We’re-. RACHEL She knows who we are. 55.

INT. CONTROL ROOM, POLICE STATION, SEATTLE - DAY Marshall being debriefed by his officers. Images of Simon and an old photograph of AMY STALLS, Simon’s mother, hanging from the banisters. POLICE OFFICER Amy Stalls, committed suicide in 1999. An image of Amy before she died, brunette, pretty. On another wall, images of Simon’s victims - all similar in looks. MARSHALL Well that’s consistent. Another image of 11 year old Simon standing next to his mother’s body on a stretcher. MARSHALL (CONT’D) That him? POLICE OFFICER Yes. The mother was reportedly raped in a cornfield in 1987. Never went to trial. Following the assault, she became pregnant with Simon. MARSHALL Which explains why there was no father on the birth certificate. So Amy Stalls kills herself when he was what - 11? So who looked after him after that? Get on it. Maybe he had a caretaker or a mentor? Someone. Marshall moves close to the image of AMY STALLS on the monitor, staring at her. Simon standing next to her corpse. MARSHALL (CONT’D) Where’s the cornfield?

EXT. CORN FIELD, SEATTLE - DAY Marshall gets out his car. We’re isolated in a cornfield. The stalks are taller than the average man. In Marshall’s hand an image of AMY STALLS. 56.

INT. COOPER’S HOUSE, SEATTLE - DAY Rachel and Glasgow with Lara still chomping on cereal, in front of Coopers workstation. GLASGOW You sure about this? LARA Go nuts, hack the creepo’s cloud or whatever. I don’t give a shit. Coop’s gonna be pissed though. Glasgow looks at Rachel. RACHEL Hurry up. Glasgow turns Cooper’s system off sleep mode. Hundreds of active profiles come up, each with images of men trying to communicate with what they think is Lara. GLASGOW Jesus. LARA You guys are so lame. GLASGOW You’re not that smart kid. You’ve just given us access to his entire system. Glasgow continues typing away. He finds the chat box from Simon. LARA No shit. For the record. I have no legal right or claim to this property or anything inside it. Meaning you’re here illegally and anything you find on that system would now be admissible in court of law. RACHEL Shit. LARA Yep. Fucking idiots. RACHEL He told you to let us in didn’t he? Why are you helping him? 57.

LARA Because he’s never tried to fuck me and wouldn’t if he could. He’s honest. Most men are pigs. This strikes a chord with Rachel, who kneels by Lara seeing she’s still got make up on from the night before. RACHEL Not all of them are. Rachel offers Lara a make up wipe, who sees her wedding ring. LARA So your’s isn’t? RACHEL No. Mine’s a complete pig. Rachel means it. Lara dropping her guard. LARA What’s he doing anyway? GLASGOW Hacking Simon’s virtual drive from what it thinks is a trusted source because of the back and forth. I’m in. Glasgow’s into Simon’s messenger system - 903 conversations across different sites. Glasgow opens Simon’s address book. Only one contact - HUNTER71. RACHEL Who are you? Rachel sees a window open on Cooper’s desktop. She takes over the mouse and clicks it. The image: AMY STALLS, Simon’s mother, hanging from the banisters (the same photo Marshall was looking at). RACHEL (CONT’D) How did Cooper get that? Lara suddenly looks scared, backing away from the monitor. Simon’s chat feed on screen starts typing: “RELEASE ME, RELEASE ME, RELEASE ME. BAIT. BAIT. BAIT. BAIT. BAIT. BAIT. BAIT. BAIT.” LARA He’s still in prison right? 58.

Rachel nods just as shocked.

EXT. CORN FIELD, SEATTLE - SUNSET Marshall, covered in sweat walking through the cornfield. He’s in an area where the corn is below head height. Buildings in the far distance. Marshall hears girls voices approaching. He sees two school girls walking through the field. Marshall instinctively crouches, the way a predator would. Within moments there’s no way the girls would know he’s there - but he can see them. Marshall waits til they’re past him and stands. He looks inquisitively toward the buildings in the distance where they’re headed.

EXT. FLEXTON PREP SCHOOL - SUNSET Marshall walking toward the school, a car park up ahead. Students surround an ice pop stand. Marshall spots someone he recognizes. MARSHALL Well I’ll be damned. Marshall jumps the queue and buys two ice pops. Up ahead inquisitively walking around is Cooper. Marshall approaches. COOPER I hope you’re not here to arrest me, that would be a waste of both our times. Marshall offers Cooper an ice pop. He accepts. MARSHALL So where’s the library then? COOPER I was just about to ask someone. Moments later. They walk together, passing students who rush to class. COOPER (CONT’D) I’m not surprised by what you’re up against. Predators may act in solitary conditions, but their instincts are quite opposite. (MORE) 59. COOPER (CONT’D) They take comfort in knowing there are others out there just like them, all alone. It’s justifies the silencing of their conscience. MARSHALL Please. Continue to educate me on the nature of criminals. COOPER Well it’s the reason your men are dying isn’t it? Simon’s got friends. MARSHALL Careful. COOPER His mother attacked up in those fields. We’re both pulling on the same thread. You need it to stop him. I need it to continue my work. Where’s there’s one-.

INT. LIBRARY, FLEXTON PREP SCHOOL - SUNSET Marshall and Cooper sit a student work desk, as a Librarian holds a piece of paper with a list on it staring at Marshall annoyed. She stomps off with a fake smile. Students sit in silence working at nearby desks. Marshall and Cooper talk in hushed tones. MARSHALL You don’t really believe this - cops are useless bullshit? COOPER Of course not. But you operate with blinders on. Like a horse, forced to only see in front of it. How many cases you worked where guilt was obvious, but a jury had to ignore a piece of evidence? Like a rapist who continues to buy his way out of cases. Suddenly, someone has the courage to go to court. Jury can’t hear what’s he done before that. It’s ignored. MARSHALL That doesn’t justify you running around castrating people. 60.

Some students stop working and listen in. COOPER If a Lion eats someone and you lock it up and tell it - don’t do that again. Then let it out, what happens? MARSHALL Not all criminals are animals. COOPER But some are wired to be. 80% of sex offenders re-offend. Yet we knowingly let them back out onto the street. 7 of them, just last month. Released within 15 miles of this school. But, when you treat the underlying cause, their hormones. Re-offend rates drop to just 5%. MARSHALL People always have a choice. COOPER Ignorance. I expected more from you. Everyone I’ve treated, without fail was eventually grateful for me removing that endless voice in their head, which says - do it. Do it. Do it. The Librarian drops a set of annual year books on the table. LIBRARIAN Class of ‘87 and ‘02. You’re welcome. Moments later. Cooper and Marshall flicking through the books with photos of students and teachers. MARSHALL She’s not in here. COOPER He is. I think? Simon’s image there at 11 years old but his name’s been blacked out. The word ‘clever’ is just readable in the description. 61.

JULIE (O.S.) I never saw anyone else in that house.

INT. LIVING ROOM, JULIE’S HOUSE, SEATTLE - EVENING Rachel sits talking with Julie and her husband Martin, one of Simon’s victims. Rachel speaks, trying to use her hands to help communicate. JULIE He didn’t have any friends. It was just him. RACHEL I need to understand what he was like in his home, away from the police, where he felt safe. JULIE He-. Martin gets up to leave. MARTIN I know. I just don’t want to hear it. She can’t see me upset. Martin leaves them to it. JULIE He was either playful or angry. Never both. Excited like a child. Or mean. Don’t let him fool you. Whether the child or the hater, that man is evil.

EXT. COOPER’S CAR CORN FIELD, SEATTLE - NIGHT They pull up to Marshall’s car. Cooper stands as Marshall exits and goes to get in his car. COOPER Don’t you want to know why? MARSHALL I know why. COOPER No you don’t. 62.

MARSHALL You think you got punished for letting all those people out of prison. But you didn’t. What happened to yours was a terrible coincidence, nothing more. You carry that type of guilt around with you - no matter what you do, it’ll eat you up. Marshall goes to get in his car. MARSHALL (CONT’D) You really think Simon’s got a friend out there? These fuckers all stick together? COOPER If he does they’ll be watching you and your men. Probably watching us right now. Marshall sticks his middle finger up and does a 360.

INT. GLASGOW’S APARTMENT, SEATTLE - NIGHT Glasgow enters. The lights are on. Baby things are everywhere. GLASGOW Hey I’m home.

INT. LIVING ROOM, GLASGOW’S APARTMENT, SEATTLE - NIGHT Glasgow enters the living room. Both his parents sit slumped, unconscious at the dining table, a half eaten delivery pizza between them. GLASGOW Mom, Dad?! Glasgow rushes to them and feels for a pulse on his father. Who grumbles uneasily.

INT. BABY ROOM, GLASGOW’S APARTMENT, SEATTLE - NIGHT Glasgow rushes in, his baby isn’t in the cot - but an IPAD is. He picks it up to see an open messenger file, which starts typing: 63.

‘Time to play my game, Coz you all look the same, Keep going til I say stop, Or I’ll twist your little baby’s head off’

INT. EVIDENCE WAREHOUSE, POLICE STATION, SEATTLE - NIGHT Marshall with Dickerman overlooking the burnt car wreckage. DICKERMAN No prints. Explosive was pentaerythritol tetranitrate. Commonly used. However the compounds in the trigger was unique. High intensity, very stable, low surrounding impact and dense. Expensive. Tradecraft.

INT. CONTROL ROOM, POLICE STATION, SEATTLE - NIGHT Marshall with Rachel and the team in front of a wall of monitors. Images of Simon and his victims line the walls. MARSHALL Cross reference that to anything relating to military personnel. The analyst using the database. ZERO matches. Dickerman enters. DICKERMAN The gas used in the basement was nickel tetracarbonyl. The trigger was remotely detonated and then rigged to fry it’s own computer chip. Again, expensive. MARSHALL His high school year book called him clever. You know what? Forget everything we know about him. Assume we haven’t caught him yet. We know the suspect’s fucking smart, he’s ruthless and his actions are entirely premeditated - which means he could have prepped for eventuality he got caught. Rachel thinks. RACHEL Simon said that Santa drops cash off to the house every year. Maybe Santa pays the bomb maker too? (MORE) 64. RACHEL (CONT'D) We hacked his server. He was talking to someone called Hunter. 71. MARSHALL (To the analyst) Search for ex- military personnel residing in the state with training in explosives. Born 1971. The database shows 1 match - GERRARD TROND.

INT. ARMS ROOM, POLICE STATION, SEATTLE - NIGHT Marshall and several happy SWAT officers (same guys he was drinking beers with when he met Carol) putting on bulletproof vests and gathering arms. Rachel approaches. SWAT OFFICER (Singing) Guess who’s back, back again. The SWAT team start singing Enimem’s ‘Guess Who’s Back’. Marshall smiles, shaking his head. MARSHALL (To Rachel) If he’s left this clue for us, we’re walking into another trap. You’re not coming. RACHEL I know. MARSHALL Good. Wait, why? RACHEL It’s time to meet the other Simon.

INT. INTERROGATION ROOM, POLICE STATION, SEATTLE - NIGHT Rachel enters, very casually dressed, two buttons undone on her blouse, brunette hair down just like his victims. She looks hot, but purposeful. She unlocks his handcuffs. He’s dangerously free. RACHEL Do you want to play? Simon’s eyes wander to the visible strands of her bra. 65.

Rachel reaches down into her pocket. As her hand leaves the table we see it trembling. She’s nervous. Rachel pulls out a red bull and passes it to Simon. SIMON What game? RACHEL You remember your Mommy? I bet she hated you. Simon drinking the red bull, stares at Rachel and unconvincingly shakes his head ‘no’. SIMON She loved me, she wanted to protect me. RACHEL Protect you from what? Simon shakes his head, closing up again. RACHEL (CONT’D) She didn’t care about you. No one does. You have nothing but your reflection to keep you company. Your mother was a cheap whore. Off Simon’s boiling reaction we...

EXT. RESIDENTIAL STREET, SEATTLE - NIGHT A suburban street which police have blocked at both ends. Two SWAT teams approach Gerrard’s house from either side. Commissioner Harper watches on at the main hub of police vehicles, with monitors showing SWAT team POV cameras.

EXT. GERRARD’S HOUSE, SEATTLE - NIGHT An American flag hangs from his front porch as the two teams continue their approach. Locals exit their house to see what the commotion is about. MARSHALL Down! Get down. The two teams split. One heads around the back. The other takes cover behind a vehicle next to the front porch. 66.

SWAT OFFICER You dusted off the cobwebs sir? MARSHALL I was born old-. Roar of gunfire by the side of the house, as the advancing SWAT team gets hit from gunfire inside one of the windows. MARSHALL (CONT’D) East window. Take him out! Marshall’s team has no clear line of sight along the side of the house. The team under fire ducks for cover.

EXT. RESIDENTIAL STREET, SEATTLE - NIGHT Commissioner Harper watching the monitors, his team under heavy fire. He turns to his backup unit. COMMISSIONER HARPER Get to the south west corner and draw his fire. (Into the radio) How many in the house?

EXT. GERRARD’S HOUSE, SEATTLE - NIGHT Marshall has almost reached the front porch. MARSHALL One target. Maybe more. Ready to breach. Marshall’s team plant charges at the door. MARSHALL (CONT’D) Where’s my third?

EXT. RESIDENTIAL STREET, SEATTLE The backup unit approach the house by the south west. SWAT OFFICER (INTO RADIO) Six seconds. MARSHALL (ON THE RADIO) Cover fire. The backup team fires into the windows from the south west. 67.

EXT. SIDE OF GERRARD’S HOUSE, SEATTLE - NIGHT The second unit, no longer under fire, drag their wounded to safety.

EXT. FRONT PORCH, GERRARD’S HOUSE, SEATTLE - NIGHT Marshall and his team. Ready to breach. MARSHALL Two smoke him.

EXT. SIDE OF GERRARD’S HOUSE, SEATTLE - NIGHT The SWAT unit toss smoke grenades into the windows.

EXT. FRONT PORCH, GERRARD’S HOUSE, SEATTLE - NIGHT Marshall and his team at the ready. A charge on the door. CRACK. The front door is blown open as in charges Marshall and his team.

INT. GERRARD’S HOUSE, SEATTLE - NIGHT Marshall and his SWAT clear the room, weapons raised as the smoke from the grenades begins to clear. OFFICER (O.S.) Kitchen clear. Marshall moves along the corridor into a bedroom to find Gerrard - in a wheelchair, both his legs have been amputated. Gerrard’s been shot in his stomach. He holds an automatic weapon at Marshall, who has his aimed at Gerrard’s head. MARSHALL Don’t. GERRARD Get back. The sound of the other officers entering the house. GERRARD (CONT’D) Stay back! 68.

Marshall takes in his surroundings. Gerrard has turned a bedroom into a workspace for building electrical devices, bombs and other tactical weapons. Gerrard lowers his rifle, but with his other holds a pistol to his own head. MARSHALL NO! Wait. And we...

INT. INTERROGATION ROOM, POLICE STATION, SEATTLE - NIGHT CRASH. The table separating Rachel and Simon flips over. Rachel aggressively stands, challenging Simon. RACHEL Come on, you pussy. Come and play. Two officers try and enter the room. RACHEL (CONT’D) GET THE FUCK OUT. Rachel turns back to Simon who shakes his head crying. RACHEL (CONT’D) What did that bitch do to you? SIMON Stop calling her names. RACHEL I want to talk to you. Where is “he,” you fucking wimp. You like tits? You like to chain women up? Rachel rips her blouse open. RACHEL (CONT’D) Come on then. Simon moves to her. SLAP. Rachel smacks him across the face. RACHEL (CONT’D) What did she do to you? Simon loses it. Screaming and banging his chair on the over turned table. It’s violent but not directed as Rachel, yet. RACHEL (CONT’D) TELL ME. 69.

SIMON (Sobbing) She never let me out. Never let me play. She hid me. Kept me away like a sick monkey in a cage. Simon starts pulling his own hair. RACHEL And what did you do to her? SIMON They told me to. RACHEL Who’s they? Simon begins to close up again, shaking his head crying. Rachel puts her arms up, offering him a hug. RACHEL (CONT’D) Shhh. It’s OK. Come here. SLAP. Harder this time. Simon’s on the edge of something. RACHEL (CONT’D) Who’s they? The voices in your head? I want to talk to them. Where’s the other Simon? The MAN? Simon flips, kicking the table, violently smashing his chair. Rachel feels suddenly vulnerable in there alone. SIMON I am a man. I do what I want. RACHEL Tell me about the women you killed. Do you remember all of them? SIMON Yes. RACHEL Who was the first? SIMON MOMMY.

INT. BEDROOM, GERRARD’S HOUSE, SEATTLE - NIGHT Gerrard, bleeding, his own gun pointed at his head. Marshall trying to talk him down. 70.

GERRARD My kids thought it was funny. MARSHALL Think about them now. Reading about their father who killed himself. GERRARD You got kids? MARSHALL A girl. GERRARD You get to spend time with her? MARSHALL Not enough. Never enough. GERRARD I served my country so I could afford a home. When I got back, home had left me. MARSHALL You served? Why are you shooting cops? GERRARD We both know why you’re here. MARSHALL You’ve been building bombs for people you shouldn’t. GERRARD I need to live. MARSHALL The guy you sold a trigger explosive to has abducted and killed more than ten women. GERRARD What? MARSHALL Don’t you watch the news? Marshall sees a TV remote nearby and a monitor. He turns it on to a local news station: a news anchor covering the story. Images of Simon. 71.

GERRARD Oh my god. SWAT officers approaching just outside the door. MARSHALL Stand down. Gerrard holding a gun to his head, about to fire. Marshall lowers his gun. MARSHALL (CONT’D) What else did you make him? GERRARD A bomb and a signal blocker for cell phones. It was nothin-. Gerrard starts sobbing. GERRARD (CONT’D) That’s the guy who locked up all those women? MARSHALL Someone out there’s been helping him. GERRARD Yeah, you found him-. BANG. Gerrard kills himself.

INT. INTEROGATION ROOM, POLICE STATION, SEATTLE Simon has Rachel pinned down. Choking her hysterically crying. Two policemen enters but Rachel signals them to wait. SIMON He’s mean. So mean. Follows me everywhere. I HATE him, go away, go away. Always watching. Always watching.. RACHEL Who is he? SIMON (Sobbing) Mommy knew he would make me bad. He made us fight. Showed me bad things. I don’t want to fight. (MORE) 72. SIMON (CONT'D) I love me so much, I just want to make me happy. Creep creep creeper. JUST GO AWAY. RACHEL He? Your father? Oh my god, your mother knew him didn’t she? Simon erupts. He smashes Rachel’s head on the ground again and again as the two officers pull him off her.

EXT. ENTRANCE, POLICE STATION, SEATTLE - NIGHT A DHL delivery truck approaches the now heavily-guarded station. The entrance has a row of police cars blocking it. The DHL driver winds down his window. POLICE OFFICER Recipient? DHL COURIER Officer Rachel Towney. POLICE OFFICER Who’s it from? DHL COURIER Lieutenant Walter Marshall.

INT. EXTERNAL INTERROGATION ROOM, POLICE STATION, SEATTLE - NIGHT Rachel emotionally drained, head throbbing, gets redressed. She tries to do the buttons up on her blouse but realizes she’s broken them. Through the glass, Simon sits leaning against his own reflection in the mirror, the table and chairs all broken. An officer enters holding the DHL package. POLICE OFFICER Officer Towney. He puts the parcel down in front of Rachel, which is marked ‘This way up.’ RACHEL Walter? Alongside the box a gift card. Rachel opens it and reads out loud: 73.

RACHEL (CONT’D) You like to talk to me. So I’ll talk to you. Tick tock, tick tock, tick tock. STOP. Rachel looks at the box, then back at Simon. RACHEL (CONT’D) OUT NOW! EVERYONE GET OUT!

EXT. GERRARD’S HOUSE, SEATTLE - NIGHT Marshall with Commissioner Harper walk back toward the house as Gerrard’s dead body is carried away. Press in the background scramble to take pictures and shout questions. COMMISSIONER HARPER What a fucking mess. We’re friends right? MARSHALL No. COMMISSIONER HARPER I’m so used to seeing you look like shit. Suddenly you don’t. It’s makes me nervous. MARSHALL I’m just getting on with it. COMMISSIONER HARPER Good. The amount you sleep in your office you should be paying rent. Everyone’s police radios start blaring in unison.

EXT. POLICE STATION, SEATTLE - NIGHT A mass of activity as police vacate the premises. Fire trucks and the bomb squad arrive.

I/E. GLASGOW’S CAR, POLICE STATION - NIGHT Glasgow visibly distraught, watching the station being evacuated. He exits and purposefully heads toward the station, passing Rachel who debriefs the bomb squad. 74.

RACHEL It’s in the north east corner. Off the main corridor next to the interrogation room. BOMB SQUAD OFFICER Package size? RACHEL 1 foot by 2 foot.

INT. POLICE STATION, SEATTLE - NIGHT Glasgow moving through the station as the remaining police evacuate. He hides behind a door, as a straggler passes by.

INT. INTERROGATION ROOM, POLICE STATION, SEATTLE - NIGHT Glasgow enters and throws Simon a police uniform with a long overcoat. Simon breaks into a smile. SIMON (Clapping) I’m excited. GLASGOW Shut the fuck up.

EXT. POLICE STATION, SEATTLE - NIGHT Marshall and Commissioner Harper arrive outside to the carnage of the entire squad outside the building. The bomb squad enters the building as Glasgow and Simon, dressed as an officer in a police hat, exit a side door.

EXT. BOMB SQUAD VANS, POLICE STATION, SEATTLE - NIGHT Monitors show POV cameras mounted onto the bomb squad’s helmets as they enter the station and head for the package. Marshall meets Rachel. MARSHALL He’s not gonna blow himself up. RACHEL (Defeated) Why wouldn’t he? Marshall’s not buying it. He sprint’s toward the station. 75.

INT. GLASGOW’S CAR, SEATTLE - NIGHT Glasgow driving with Simon in the front seat, who sways back and forth like an excited monkey in a cage. SIMON Seat belt. Seat belt. Seat belt. GLASGOW Where am I going? SIMON Stopsees. Glasgow pulls up next to a van, with it’s back doors open parked on the side of the road. News crew vans speed past heading for the police station. GLASGOW Where is she?! SIMON Who silly bean? Simon excitedly exits the car. Glasgow goes to stop him but his phone signals. SIMON (CONT’D) Beep, beep, beep.

INT. POLICE STATION, SEATTLE - NIGHT The Bomb squad surround the parcel on the desk. They begin to open the seal. BOMB SQUAD OFFICER Package located.

INT. CELLS, POLICE STATION, SEATTLE - NIGHT Marshall sprinting through the corridor, checking the prison cells. He rushes to the interogation room - no Simon.

EXT. POLICE STATION, SEATTLE Glasgow speeds back to the station, leaps out his car and rushes to the building. Rachel sees him. 76.

INT. POLICE STATION, SEATTLE - NIGHT The Bomb Squad opening the package. They lift the top cover and using tiny mirrors get inside. BOMB SQUAD OFFICER It doesn’t look like a trigger around the cover. It’s not air tight. Removing the lid. Marshall sprints in. The Bomb squad officer lifting the lid off the package. BOMB SQUAD OFFICER (CONT’D) What the hell is that? Oh my god. Glasgow sprints in. GLASGOW He’s gone. I let him out. Where is she? Marshall holds Glasgow back as the Bomb Squad Officers open the parcel, inside is his baby, wrapped in sheets - not moving... Everyone freezes. The sight is chilling. Then. Sneeze. The baby sneezes as the entire room reacts in relief. Glasgow bursts out crying as he picks her up. Rachel enters. GLASGOW (CONT’D) I can’t do this. I quit. I can’t do this and look after her. I quit. I quit. Marshall stares at Glasgow, the epitome of his internal struggle.

E/I. FAYE’S HOUSE, SEATTLE - EARLY MORNING Marshall runs up the driveway, jimmy’s the door and enters. The alarm signals but he ignores it, running straight up the stairs to Faye’s bedroom.

INT. FAYE’S BEDROOM, SEATTLE - EARLY MORNING Marshall relieved to see Faye in bed. She wakes so he grabs her and pulls her close - whispering in her ear. Faye nods, the alarm still signalling. 77.

EXT. TRAIN STATION, SEATTLE - EARLY MORNING Marshall puts Faye carrying her satchel on a train. He checks the platform, but for a few commuters it’s empty. MARSHALL Remember. FAYE Stay off my phone and computer til you come get me. MARSHALL You’re brilliant and you’re smart and you’ve opened my eyes. I’ve been wandering around since your Mom left me. Waiting for someone to say it’s OK to start again. I just didn’t realize that was you. I’m so grateful. But for now, I need to get you away from all this til-. FAYE Do your job Dad. Go get him.

INT. GLASGOW’S HOUSE, SEATTLE - EARLY MORNING Rachel sitting with Glasgow who holds his sleeping baby. Dickerman’s forensics team in the background searching the apartment for clues. RACHEL You were acting under duress. Any judge will be extremely lenient. Marshall enters and approaches Dickerman. DICKERMAN It’s clean, no prints. The pizza was covered in benzodiazepine, very common, untraceable point of sale. Marshall joins Glasgow and Rachel. GLASGOW Am I going to jail? MARSHALL I wouldn’t worry about that. I found you someone who knows how to bend the system. An Officer escorts Cooper in, who approaches Glasgow. 78.

COOPER Hello. We have an appointment with a psychiatrist who is going to assess your mental stability. Her conclusion will point to temporary insanity and that your actions were the only thing that stopped you from committing suicide. Capish? GLASGOW Er. OK. Rachel lost in thought. Marshall whispers to Cooper. MARSHALL You still got a court house pass that’ll get into you the archives? COOPER Yes. Why? MARSHALL I need another favor. RACHEL FUCK.

INT. MARSHALL’S CAR, COUNTRYSIDE, SEATTLE - MORNING Marshall driving with Rachel. RACHEL Simon’s mother was suicidal. After the rape and then pregnancy she must have seen psychiatrist. MARSHALL So? All the files on the rape charge have been buried. RACHEL The state has extremely strict indemnity clauses, to protect itself in the event a patient commits suicide. Every file from crisis centres in the state, gets backed up annually. Simon wouldn’t know that, no one would. 79.

INT. PSYCHIATRIC CRISIS HQ, SEATTLE - MORNING Rachel and Marshall being led down a series of corridors by a female office worker. They pass boxes of dusty files, stacked as high as the ceiling. The office worker points them down a long aisle. OFFICE WORKER That’s 92 to 98. 98 to 2004 on the other side.

INT. COURT HOUSE, ARCHIVES, SEATTLE - MORNING A security guard happily clutching a bottle of Cognac, as Cooper walks along the row of legal cabinets. Cooper searching the files. He arrives at 1988-1989. MARSHALL (O.S.) This is going to take weeks.

INT. PSYCHIATRIC CRISIS HQ, SEATTLE - MORNING Marshall and Rachel searching rows of boxes. Marshall dials his cell phone. Rachel pulls a box from row, opens it. MARSHALL (On the phone) This is Marshall. I need a team of guys down at the-. RACHEL Got it. Marshall somewhat shocked, puts the phone down. RACHEL (CONT’D) This is place is run by women. Women are organized. Men are pigs.

INT. COURT HOUSE, BASEMENT, SEATTLE - MORNING Cooper reading case files: ‘settled out of court Jan 1972’, ‘settled out of court March 1976’, ‘settled out of court November 1991.’ Cooper opens it - ‘AMY STALLS.’ Got it. RACHEL (O.S.) ‘Amy Stalls interview by Child Prosecution Service 1998.’ 80.

INT. PSYCHIATRIC CRISIS HQ, SEATTLE - MORNING Marshall with Rachel, looking in a case file with several old VHS tapes. RACHEL There’s over 10 hours of footage here. You want to meet his mother?

INT. CONFERENCE ROOM, PSYCHIATRIC CRISIS CENTRE, SEATTLE - DAY Marshall and Rachel watching, as an old VHS begins to play on the monitor. AMY STALLS, then 29, brunette, once pretty, a face that wears a decade of turmoil. Shaking. Crying. Chain smoking. On the recording: AMY STALLS It’s not his fault. He used to be such good boy. He’s doesn’t mean it. He just follows him. CHILD PROTECTION OFFICER They stole four dogs from the neighborhood let them loose in a field and then burnt it. AMY STALLS (Sobbing) Fucking bastard. Evil, evil bastard. I thought what he did to me was the sin, but only now do I face damnation for bringing such evil into the world. I tried to hide us but the devil sees everything. One after the other they fell to Asaph’s demonic twisted soul. MARSHALL Asaph. You hear Asaph?

EXT. MARSHALL’S CAR, COUNTRYSIDE, SEATTLE - DAY Marshall driving, Rachel next to him. Commissioner Harper on speaker phone. COOPER Amy Stalls paid off in 1991, $1.9 million. But the settler’s name is blacked out. 81.

MARSHALL Did you copy the file? COOPER No. I borrowed it. MARSHALL GREAT! Can you get down to the station?

EXT. CAR PARK, POLICE STATION, SEATTLE - DAY Cooper standing by his car on the phone. Marshall speeds in. COOPER I’m already here.

INT. CONTROL ROOM, POLICE STATION, SEATTLE - DAY Commissioner Harper with his team as in walk Marshall, Rachel and Cooper. MARSHALL Stop what you’re doing. Cross reference Amy Stalls with Asaph on the database. Analysts type key words. 301 names appear. Cooper watching on. Marshall looks at Cooper’s file on Amy Stalls - the names blacked out. MARSHALL (CONT’D) This guy’s covered his tracks well. RACHEL (ON PHONE) We know he was very affluent. How many of them in the top tier tax bracket. Result on screen ‘0’. MARSHALL Go back a step. There’s no-one called Asaph? COOPER Try David. Asaph is a biblical name, it means ‘the collector.’ He was a main servant of King David. Result on screen ‘506’. 82.

RACHEL Now top tier tax bracket again. Result on screen ‘6’. MARSHALL Bring them up. Six files come on screen, each with an image. One of them is DAVID McGOVERN - the Elderly Man. COOPER That’s him. David McGovern. Details on his file come up. Marshall reads out loud. COMMISSIONER HARPER Chairman of the Board of Benefactors. Flexton Prep School. Marshall and Cooper share a look.

EXT. FLEXTON PREP SCHOOL - SUNSET A team of police vehicles arrive on campus. No sirens. No flashing lights. Marshall and Rachel are met by the Principle who points them toward a building near the sports grounds.

EXT. DAVID’S HOUSE, FLEXSTON PREP SCHOOL - SUNRISE Marshall and his team at the front entrance. Elsewhere, a second team at the rear. Rachel waits outside with Commissioner Harper, quietly moving students away from the building. Marshall tries the door handle when he hears Simon SHOUTING from inside. He quietly jimmy’s the lock and enters.

INT. DAVID’S HOUSE, FLEXSTON PREP SCHOOL - SUNRISE Marshall weapon in hand, with a torch tip toes up the stairs toward the sound of Simon shouting. SIMON (O.S.) I hate you, I hate you. The second team enters the rear and quietly follows behind. They head toward a room at the end of the corridor. 83.

SIMON (CONT’D) LEAVE ME ALONE. Go away. Away. Away. Marshall holds his team as they listen to the commotion inside. MARSHALL (INTO RADIO) (Whispering) Eyes?

EXT. ROOFTOP, FLEXTON HIGH SCHOOL, SEATTLE - SUNSET A sniper unit on the roof. Looking into the windows. Through their rifle POV, we sees Simon pacing the room. SNIPER (INTO RADIO) Primary suspect. No visual on the second.

INT. DAVID’S HOUSE, FLEXSTON PREP SCHOOL - SUNSET Marshall holds his team back, listening to Simon. SIMON (O.S.) Why don’t you just DIE! On that Marshall kicks the door in and bursts in to find... Simon covered in blood - not his own, but David’s who lies on the ground having been stabbed numerous times, over what looks like a lengthy period of time. MARSHALL Get back Simon. (Into Radio) Get paramedics up here. Simon grabs something on a counter, puts it in his mouth and swallows. Officers cuff Simon. SIMON I want my bear. I want my bear. A soft toy sits on top of a desk. Rachel enters, much to Marshall’s disapproval. Rachel sees David as good as dead on the ground. SIMON (CONT’D) Please. My bear. Rachel bends down to David’s bloodied face. 84.

RACHEL You’re his father? SIMON Creep. Creep. CREEPER. David tries his best to nod. Rachel faces Simon in horror. RACHEL Why Simon? Why did you do this? MARSHALL A lot of kids here. We need to get him out. SIMON Please give me my bear. Please. Simon starts sobbing, pleading to Rachel. SIMON (CONT’D) He was so mean. So mean. He made me do things. I HATE HIM. Wouldn’t LEAVE ME ALONE. Please, please. My bear. Mommy’s bear. Marshall goes to drag Simon away. SIMON (CONT’D) Give me the fucking bear you cunting bitch. Everyone stops. Rachel, Marshall - Simon is a completely different person. Aggressive. Assertive. RACHEL There ‘you’ are. SIMON Look what ‘he’ made me do. No more crying like fucking baby. You want to know what I did to those sluts? There’s a bus load you don’t even know about. Marshall slams Simon’s face down on the table. SIMON (CONT’D) That fucking creep wouldn’t leave him alone. Always following him everywhere, begging ‘I’m your daddy, I’m your daddy.’ Pathetic old CREEP. 85.

Simon spits at David on the floor, then turns to Rachel. SIMON (CONT’D) Give me what he wants - his bear. If you could hear his whining like a fucking baby. I can’t listen to him anymore. On and On. Shut him up. Shut him up. No bear, no bodies. Nothing. MARSHALL Fuck the pair of you. Rachel grabs the bear. RACHEL I give you this, you give me everything. You get me. Rachel shoves the bear into Simon’s mouth - who transfixes back into the child Simon we’re used to - crying and sobbing. Marshall drags him out as Rachel hears a faint laughter from David on the ground. DAVID Clever boy. David dies.

EXT. POLICE STATION, SEATTLE - DAY Establisher. Mass of news reporters and civilians holding ‘death penalty’ signs, chanting outside. RACHEL (O.S.) Helen Sanders.

INT. INTEROGATION ROOM, POLICE STATION, SEATTLE - DAY Marshall with Simon who sits opposite Rachel, who shows him photos of a missing women. Simon reading her lips as she talks shakes his head ‘no’. RACHEL Yvette Amelli? Simon looks closer. Shakes his head ‘yes.’ RACHEL (CONT’D) Deceased? Simon nods. 86.

INT. LARA’S ROOM, COOPER’S HOUSE, SEATTLE - MORNING Cooper brings breakfast into Lara. She’s not in her room. The bed’s empty. RACHEL (O.S.) Tiffany Balle?

INT. CORRIDOR, COOPER’S HOUSE, SEATTLE - MORNING Cooper searching his house for Lara. He checks a couple of rooms, both are empty. RACHEL (O.S.) Holly Reese?

EXT. POLICE STATION, SEATTLE - MORNING Press and news reporters outside the station. Chanting in unison for the death penalty.

INT. INTERROGATION ROOM, POLICE STATION, SEATTLE - MORNING Simon looking at an image of Holly Reese, nods yes. RACHEL Deceased? Simon nods. Then reacts to the chanting heard outside.

INT. OFFICE, COOPER’S HOUSE, SEATTLE - MORNING Cooper turns the light on. Hanging from the ceiling are pairs girls underwear. He stumbles in shock. Cooper bends beneath the hanging underwear and logs into his computer. He opens the ‘LARA LOCATOR - No signal.’ Cooper grabs a gun from the desk and leaves.

INT. CORRIDOR, POLICE STATION, SEATTLE - MORNING Simon in chains being walked toward his cell by Marshall. Police that pass him glare and swear at him. One spits. SIMON I’d like to go to prison now. 87.

INT. CELL, POLICE STATION, SEATTLE - MORNING Marshall puts Simon in his cell. An Officer brings him a plate of food and tosses it at him. Simon tenderly wipes the food off his bear. Marshall’s phone beeps. He faces Simon. MARSHALL What did you do? Simon breaks into a gleeful smile.

INT. COMMISSIONER HARPER’S OFFICE, POLICE STATION, SEATTLE - DAY Marshall, Cooper and Commissioner Harper. MARSHALL It’s impossible. We had him here locked up yesterday at 6pm. COOPER Well I fed Lara dinner at 8pm and now she’s gone. COMMISSIONER HARPER She’ll come back. COOPER He’s hung fucking underwear from my ceiling. (To Marshall) What the fuck are you guys doing here? COMMISSIONER HARPER Hang on. This all started with you! The only reason I haven’t arrested you yet-. COOPER Is because you’re to busy being fucked around by-. MARSHALL Coop-. Cooper grabs Marshall by the neck. Commissioner Harper pulls a gun on Cooper. COMMISSIONER HARPER It’s too early for this ladies. 88.

COOPER (To Marshall) You know I have NOTHING to lose. Find that girl alive, or I’m not responsible for what happens.

INT. SIMON’S JAIL CELL, SEATTLE - DAY Simon in his cell. In walks, Marshall and Rachel. RACHEL Where’s Lara? SIMON Let me say sorry. Then I’ll tell you. MARSHALL Apology accepted. SIMON Not to you silly bean. To them outside. Let me say sorry for the things I’ve done. Then I’ll tell you where the last one is. MARSHALL Is she alive? SIMON Yes. But soon no. You know how clever I am. Who’s a clever boy?

INT. PRISON CELL CORRIDOR, POLICE STATION, SEATTLE - DAY Marshall with Rachel and Commissioner Harper. COMMISSIONER HARPER (Thinking) We can’t turn down the chance of saving another girl. MARSHALL He’s up to something. COMMISSIONER HARPER Of course he fucking is. 89.

EXT. POLICE STATION, SEATTLE - DAY The crowd outside goes nuts, hurling abuse, throwing food and cans at Simon who is led outside cuffed. Marshall with Rachel to the side, searching the crowd. MARSHALL Where’s Cooper? At the front Commissioner Harper holding a police microphone. COMMISSIONER HARPER Please. The crowd settles. Cooper, full of rage, stands quietly amongst them. Commissioner Harper whispers to Simon. COMMISSIONER HARPER (CONT’D) ‘I’m sorry’. Anything more and you’ll beg for the death penalty. SIMON I wanted to say-. HUSBAND Did you take my wife? Please. Look at the photo. She went missing 2 years ago. A husband holding aloft a printed image of his missing wife. SIMON No I did not. She’s way too ugly. The crowd falls to a shocked silence. Marshall moving through the crowd, desperately searching for Cooper. Elsewhere. Cooper in the crowd removes his pistol. SIMON (CONT’D) I never got caught because the police and you all, are dumber than the sluts I locked up and got to fuck every, single, day. Carnage erupts. Cooper raises his gun at Simon just as Marshall reaches him. And we...

INT. GARAGE, POLICE STATION, SEATTLE - AFTERNOON Marshall and Rachel oversee two teams who get into separate vehicles. The first, a decoy police van. 90.

The second, an unmarked police car, which Simon is shoved into. Marshall talks to the team in the decoy van. MARSHALL You guys are going to get lynched. Get the crowd’s attention, draw them away from us and then get the hell out of there. Thunderous echo of the angry crowd outside. Marshall goes to get into the car with Simon, but is held back by Rachel. RACHEL No. I’m going. MARSHALL Why? RACHEL Lara’s still out there. He won’t talk to you.

EXT. FRONT EXIT, POLICE STATION, SEATTLE - AFTERNOON The police decoy van exits and is set upon by the angry crowd who bang on it, tossing rocks, cracking windows.

EXT. REAR EXIT, POLICE STATION, SEATTLE - AFTERNOON The unmarked car exits, with Rachel sitting next to the hooded Simon.

INT. POLICE STATION, SEATTLE - AFTERNOON Marshall stares at the monitors. His team busy searching through files of evidence. Images on screen of Gerrard Trond, David and the deceased Sophia Eluda on the logs, ‘TV’ scratched into the wood. On the monitors, several different videos play of Simon being interrogated. An officer nearby trying to use his cell phone. OFFICER Fuckin phones man. Tower must be down. 91.

INT. UNMARKED VEHICLE, SEATTLE - AFTERNOON Simon hooded, with Rachel in the back seat. Suddenly her phone and the other officers start beeping, receiving messages, voicemails in unison. SIMON Beep, beep, beep, beep.

INT. COOPER’S CAR, SEATTLE - AFTERNOON Cooper following the decoy police van. Suddenly his lap top on the seat next to him starts to PING. “LARA LOCATOR - SIGNAL ACTIVE.” Her position appears on an interactive map on the monitor. Cooper turns the car around.

INT. POLICE STATION, SEATTLE - AFTERNOON Marshall staring at the monitors. An interactive map shows the unmarked car’s location. He gets his cell phone out - no service. The VHS tapes of the Amy Stalls interviews being played in the corner of one of the monitors. AMY STALLS (ON THE MONITOR) Fucking bastard. Evil, evil bastard. I thought what he did to me was the sin.

INT. UNMARKED VEHICLE, SEATTLE - AFTERNOON Simon humming to himself, Rachel lifts his hood so he can see her mouth. Two officers up front. All is quiet, roads are clear. RACHEL Where is she Simon? Where’s Lara? Simon smiles ‘opps’. AMY STALLS (O.S.) Only now do I face true damnation for bringing such evil into the world.

INT. POLICE STATION, SEATTLE - AFTERNOON Marshall stares at the monitor, watching Amy Stalls on tape. 92.

AMY STALLS (ON THE MONITOR) I tried to hide us but the devil sees everything. Marshall looks down at his cell phone. He thinks back...

INT. BEDROOM, GERRARD’S HOUSE, SEATTLE - FLASHBACK Gerrard bleeding, his own gun pointed at his head. Marshall trying to talk him down. GERRARD A bomb and a signal blocker for cell phones.

INT. POLICE STATION, SEATTLE - AFTERNOON Marshall runs toward the prison cells. AMY STALLS (ON THE MONITOR) One after the other they fell to his demonic twisted soul.

INT. SIMON’S JAIL CELL, SEATTLE - AFTERNOON Marshall searches the cell, finds Simon’s soft toy. He rips it apart and realizes one of the buttons is a small device.

EXT. UNMARKED VEHICLE, SEATTLE - AFTERNOON The unmarked car in traffic. In the distance behind them, Cooper’s vehicle gaining on them. SIMON Why do you stay with your husband, when you know he fucks other women? RACHEL What? How do you know that? SIMON Women are so fucking fragile.

INT. POLICE STATION, SEATTLE - AFTERNOON Marshall returns, puts the tiny device on the desk and smashes it with the butt of his gun. Suddenly the cell phones in the station start beeping. 93.

EXT. POLICE STATION, SEATTLE - AFTERNOON The crowd outside’s cell phones all come to life. Hundreds of beeping noises going off.

INT. POLICE STATION, SEATTLE - AFTERNOON Marshall faces the monitors. An officer watching different videos of Simon being interviewed. MARSHALL Wait a minute. Put those two next to each other. The officer moves the video windows so they’re side by side. Both show Simon drawing on paper at different times.

INT. COOPER’S CAR, SEATTLE - AFTERNOON Cooper slamming on the accelerator. Weapon in hand, approaching the unmarked police car. Cooper doesn’t realize there is another car following him, swerving in and out of traffic trying to keep up. Cooper reaches the unmarked police car. He checks the ‘Lara Locator’ that shows Lara’s in the car ahead. He accelerates.

INT. POLICE STATION, SEATTLE - AFTERNOON Marshall staring at both videos of Simon - in one, Simon draws with his left hand; in the other, his right. Marshall turns to the image on the monitor of Sophia Eluda ‘TV’ scratched into the log. MARSHALL Oh fuck. GET THEM SUPPORT NOW.

EXT. COOPER’S CAR, SEATTLE - AFTERNOON Cooper slams into the unmarked police car, causing its rear end to spin. It hits the sidewalk and flips, landing on its roof.

INT. MARSHALL’S CAR, SEATTLE - DAY Marshall speeds off. On speaker phone. 94.

POLICE OFFICER (ON PHONE) Sir the vehicle’s just been hit. Units are inbound.

EXT. COOPER’S CAR, SEATTLE - AFTERNOON Cooper weapon in hand, leans down looks inside the overturned car. COOPER Lara?! Cooper finds Rachel, a hooded figure and two officers unconscious in the front seats. Cooper drags the hooded figure out the car, removes the hood and realizes it’s Simon. COOPER (CONT’D) What? SMASH. A second car crashes into Cooper’s, sending him tumbling across the road. The driver gets out the arriving vehicle holding a gun. In the reflection of the overturned car, we see two Simons... only one of them turns and the other is still. The driver is Simon’s identical twin. For reference, the childlike Simon we’ll call Child Simon; the one in chains, Dominant Simon. Child Simon cries on seeing his twin and obediently hands him the weapon. DOMINANT SIMON Good boy. Child Simon smiles. Cooper injured on the ground watching on. Rachel in the overturned car, is bloodied but conscious.

INT. MARSHALL’S CAR, FREEWAY, SEATTLE - DAY Marshall speeding, sirens blaring. MARSHALL MOVE! POLICE OFFICER (ON PHONE) Units at location in two minutes. 95.

EXT. CRASH LOCATION, SEATTLE - DAY Child Simon uncuffs his twin brother. COOPER Where’s Lara? Dominant Simon sticks two fingers down his throat, making himself sick. He vomits - within the bile is Lara’s set of earrings with trackers in them. COOPER (CONT’D) Where is she?! Child Simon bends down, looking into the car, at Rachel and the other police. COOPER (CONT’D) Please! DOMINANT SIMON He’s deaf. He can’t hear you. Pedestrians approach wanting to help, but run away on seeing Dominant Simon holding a weapon. A policeman in the over turned car comes to. DOMINANT SIMON (CONT’D) (To Child Simon) Pick your ladybug. Mine’s the young one. Child Simon looks at Rachel and Cooper. With a smile he picks Rachel. DOMINANT SIMON (CONT’D) I thought you’d pick her. One bug each, for the last time. Lets see who gets out. Child Simon claps his hands enthusiastically. DOMINANT SIMON (CONT’D) Kiss. Child Simon kisses his brother on the lips, the way a child does their parent. It’s not sexual, but as fucked up as it sounds. Cooper reaches for his weapon behind his back. His hand wraps around the handle. BANG. Dominant Simon shoots Cooper as Child Simon drags Rachel out of the overturned vehicle. 96.

INT. MARSHALL’S CAR, FREEWAY, SEATTLE - DAY Marshall speeding, swerving in and out of traffic. He sees squad cars up ahead at the crash sight.

EXT. CRASH LOCATION, SEATTLE - DAY Marshall’s too late. Pacing the scene, he sees the over turned car and finds Cooper dead on the road. Rachel and Simon are gone - he’s livid with himself.

INT. POLICE STATION, SEATTLE - EVENING On screen the image of Sophie Eluda’s ‘TV’ scratched into the wooden log. Marshall with a black marker pen continues the word, not TV... but TWINS. MARSHALL (O.S.) She knew there was two of them. Commissioner Harper and the force watching on. All pissed at themselves for not realizing. MARSHALL (CONT’D) They must have switched at the school. Both of them were there.

INT. DAVID’S HOUSE, FLEXSTON PREP SCHOOL - EVENING Marshall and his squad find a trap door in David’s floor boards. Dusty, stone stairs leading down underground. Using flash lights they find several cells underground - identical scenario to Simon’s basement, only David’s hasn’t been used in a very long time.

INT. HOSPITAL, SEATTLE - EARLY MORNING Marshall with the wounded policeman from the crash site. His head bandaged, struggling to get the words out. WOUNDED OFFICER He said he’s got the younger one. And he needed to pick his bug or Ladybug. MARSHALL Ladybug? The wounded officer tries to nod but struggles. 97.

WOUNDED OFFICER Then he took Rachel. Saying see which one gets out.

INT. CONTROL ROOM, POLICE STATION, SEATTLE - EARLY MORNING Marshall with Commissioner Harper. Officers type the word LADYBUGS into their computers. One reads aloud: OFFICER There are many speculations about the rhyme’s origins and meanings. One theory is that it relates to the view and handling of those practising paganism in Europe. MARSHALL No. He’s never mentioned religion. OFFICER 2 It’s seen as a system of goddess worship. The line “Ladybug, ladybug, fly away home” is a reference to pagans going underground. COMMISSIONER HARPER All his victims lived underground? MARSHALL That’s not it. OFFICER 3 Another theory is the rhyme originated after the harvest. In the spring, farmers would release thousands of ladybugs to protect their crops. When it was time to burn the fields, the farmers would sing the rhyme to encourage the ladybugs to fly away. Farmers played a game to see how many ladybugs could escape the fire. OFFICER 2 Another theory-. MARSHALL Wait. Bring up the interview of his mother. Two minutes in. An Officer plays the VHS recording of Amy Stalls. 98.

CHILD PROTECTION OFFICER 2 (ON THE MONITOR) They stole four dogs from the neighborhood, let them loose in a cornfield and then burnt it. MARSHALL Tell me that’s the same cornfield the Mother was raped in?

INT. SPRINGWELL CORNFIELD, SEATTLE - AFTERNOON Cornfields higher than the average person. Lying on the ground, unconscious, mouth gagged, hands and feet tied together, is a withered Lara. In another part, Rachel, semi conscious being dragged through the corn shrub by both Simon’s. This spot will do, dump in the corn. Child Simon jumps around, giddy and excited. DOMINANT SIMON Did she hurt you? Child Simon shakes his head ‘no’, Dominant Simon spits at her anyway. Child Simon goes to leave, but he’s heading in the wrong direction. Dominant Simon holds his hand as they both disappear into the thick corn stalks. And we...

EXT. EDGE OF CORNFIELD, SEATTLE - AFTERNOON Follow gasoline cans being emptied at the side of the cornfield. It’s vast and very easy to get lost in. Child Simon and Dominant Simon meet in the middle. Child Simon is having a great time, as Dominant Simon allows himself a “here we go” moment. DOMINANT SIMON If the older one gets out, you can go first. CHILD SIMON Good. I thought you were still mad at me? DOMINANT SIMON I am mad at you. But I love you remember? It felt good to kill him didn’t it? 99.

CHILD SIMON Yes. I liked it. Liked it a lot. DOMINANT SIMON If it felt good, then it’s OK. CHILD SIMON Mommy would be happy. At least he’s not following me anymore. Sneak, sneak, sneaky, sneaker. DOMINANT SIMON He just wanted to be your friend too that’s all. It’s good because all the dumb police thought he was the one trying to rescue you, but really it was me. Because I love you, no-one else does. Just me. CHILD SIMON Thank you. I love me too. Mommy would like it. I promised her, stay away, stay away. DOMINANT SIMON Mommy’s fucking dead. Dominant Simon lights the cornfield. WHOOSH.

EXT. COUNTRYSIDE, SEATTLE - AFTERNOON Police cars speed down the road at breakneck speed.

INT. MARSHALL’S CAR, COUNTRYSIDE, SEATTLE - AFTERNOON Marshall driving like a man possessed.

INT. CORNFIELD, SEATTLE - AFTERNOON Lara, semi-conscious, turns her head trying to figure out where she is. She sees smoke rising near by and the increasing sound of flames approaching. Elsewhere. Rachel, figuring out where she is sweating from the heat. Flames spreading close to her as her foot catches fire. 100.

EXT. CORNFIELD, SEATTLE - AFTERNOON On the edge of the cornfield. Child Simon bounces up and down trying to see if anyone has made it out of the field. CHILD SIMON I win. I win. I WIN. Dominant Simon smiles fondly at his twin enjoying himself. A sadistic, proud moment together. DOMINANT SIMON I told you I’d never let anyone hurt you but me. CHILD SIMON But me. But me. DOMINANT SIMON But me Silly Bean-. Then blaring sound of police sirens. Marshall leaps out of his car, weapon raised. Child Simon panics and disappears into the burning cornfields. Dominant Simon follows, but he’s already lost him. Marshall and his arriving officers look up at the smoke filled sky. Time is running out. MARSHALL Get around the back. Marshall, weapon in hand, gives chase to both Simons. As he disappears into the cornfield, he’s immediately surrounded by tall cornrows. He turns in each direction, already lost.

INT. CORNFIELD, SEATTLE - AFTERNOON Rachel unbinding her feet, when Simon sprints past her tripping over her feet. Simon stands and smiles an evil, hateful grin that only the Dominant Simon would give. RACHEL Do you have a name or are you both Simon? DOMINANT SIMON Both Simon. He’s get confused otherwise. 101.

Rachel gets to her feet and charges him... CRACK. Elsewhere. Lara struggling as Child Simon tugs at her pants, playfully enjoying his discovered prize. Child Simon hugs Lara the way you do a loved one, then he places his hands on her zipper. LARA Wait. CHILD SIMON Shhhh. LARA At least kiss me first. Nicely. Child Simon leans down to kiss Lara. Her hands now free, she drives a finger into his eye. He screams in pain. Elsewhere. Marshall getting deeper into the cornfield. No sign of anyone. He hears Simon screaming. Elsewhere. Rachel takes a punch to the face, then another and another from Dominant Simon. Rachel, desperate and giving all she’s got, pulls at his hair and punches him square in the face. Lara with Child Simon who holds his eye. He goes charge her, but a cop comes spilling through the stalks knocking him over. Lara sprints off. Elsewhere. Marshall sprinting through the corn. He’s quickly surrounded by flames and smoke. A cop rushes past him. MARSHALL Go back. BANG. A gun shot is fired. Marshall looks up. Another gun shot is fired. Dominant Simon head butts Rachel who goes down. He’s about to kick her in the head when he stops, listening to the gun fire. Rachel sweeps his feet to the ground and drives her heel into his face. Child Simon holding the fallen policeman’s pistol - he fires again, at the dead cop on the ground. Rachel being choked by Dominant Simon. She can’t breath, every ounce of energy trying to pull him off her, but he’s too strong. Until... 102.

Lara bursts through the stalks and kicks Simon square in the face. Once he’s on the ground, she leaps onto his back. Simon stands and drops back, landing on top of Lara. Rachel sucks air into her lungs, whilst dragging Simon off Lara. She gets her back on her feet, as Dominant Simon faces them both. Lara and Rachel face one another, then turn to Simon. LARA I’m not scared of you. Dominant Simon smiles and charges them. He runs straight into a round house kick from Rachel. He goes down, as Rachel grabs Lara’s hand. RACHEL Don’t let go. Elsewhere. Marshall moving through the stalks. Child Simon sees him and raises his gun. BANG. Marshall goes down, as Child Simon starts leaping in joy. Elsewhere. Rachel and Lara running through the stalks. Smoke surrounding them, it’s impossible to tell which way is out as Lara struggles to breathe. LARA Where’s Coop? Did you see what happened to him? Rachel determined to get them out. Lara pulls her back. LARA (CONT’D) Tell me! Rachel kneels down next to Lara. RACHEL He didn’t make it. Lara starts crying, giving up. RACHEL (CONT’D) Lara listen to me. You’re strong and that’s what he saw in you. STRENGTH. To do anything, be anything and take anything the world throws at you. I wish I was more like you. Now... are we gonna cry in here like pair of pussies. Or we gonna fucking fight? 103.

Lara raises her head, determined to fight... until she sees Child Simon staring at her and Rachel. Child Simon starts crying moving toward them for a hug. CHILD SIMON I’m lost, help me. Rachel moves in front of Lara protectively, but as Child Simon reaches her - SMACK. Rachel is smashed to the ground. It’s Dominant Simon, pretending to be his brother. Elsewhere. Marshall shot in the shoulder on the ground. The actual Child Simon standing over him, weapon raised. CLICK. The chamber’s empty. Marshall takes out a pocket knife and drives it into Child Simon’s foot. He screams. Elsewhere. Dominant Simon finds an old farmer’s shovel amongst the corn. He grabs it and lifts it over Rachel’s face, about to strike but stops when he hears a desperate SCREAM from Child Simon. Dominant Simon drops the shovel and sprints off, following the sound of his brother screaming. Lara helps the bloodied Rachel back to her feet as fire surrounds them. Dominant Simon searching for his brother. Up ahead a cop has his back to him. He creeps up behind him, picks up a rock off the ground and smashes it onto his head. Marshall on his feet, has Child Simon in a head lock. His knife now plunged into his arm. Marshall twists it, causing Child Simon to SCREAM. Marshall scanning the stalk row, waiting his brother to take the bait. Rachel with Lara moving through the dense fumes. They run into another cop. RACHEL Get her out! Lara doesn’t want to leave Rachel’s side. Child Simon lets out another SCREAM. Lara pulls on Rachel’s arm again. RACHEL (CONT’D) I’ve gotta go back. The cop puts Lara over his shoulder and marches off. Rachel runs in the direction of Child Simon’s screams. 104.

Marshall, bleeding heavily from his shoulder, his other arm wrapped around Child Simon’s throat. Rachel emerges ahead of Marshall... CLICK. Dominant Simon has a gun pointed at Rachel’s head - she doesn’t move. He wraps his arm around her neck, mimicking Marshall’s stance with his brother. They face off. Flames and thick smoke surrounding them. MARSHALL I let him go. You let her go. And you two fucktards can have me all to yourself. RACHEL No. Dominant Simon thinks, gun aimed at Rachel’s head. Marshall gets his handcuffs out and puts one around his own wrist. MARSHALL They both go free. You can have me and my gun. CHILD SIMON (Sobbing) I want to go home now. MARSHALL If you don’t her go, I’ll kill him. Dominant Simon aims his gun at Marshall instead of Rachel. MARSHALL (CONT’D) Good. Now keep it on me. Marshall removes his arm around Child Simon’s neck but keeps his gun aimed at him. MARSHALL (CONT’D) Rachel go. Dominant Simon lets Rachel free who disappears into the corn stalks. Marshall throws the handcuff keys into the approaching fire. Sweat dripping from his brow. MARSHALL (CONT’D) You’re the smart one right? DOMINANT SIMON Smarter than you. MARSHALL Agreed. 105.

CLICK. Marshall handcuffs himself to Child Simon. GUNFIRE erupts as the furious Dominant Simon shoots Marshall, who fires back. Both go down. Child Simon reacts in horror as his brother lies dead on the ground. He can’t move closer to him, because he’s cuffed to Marshall’s arm. Child Simon drags and pulls at Marshall, who severely wounded and resigned to his fate starts laughing. Child Simon enraged launches himself at Marshall, slamming him in the face. Child Simon crying, screaming. He strangles Marshall, harder, harder-. CRACK. Rachel swings the metal shovel at Child Simon’s head, knocking him out cold. RACHEL Where’s the keys. MARSHALL I tossed them. RACHEL Of course you did. Rachel looks around. She can’t carry Marshall and Child Simon together. The fire surrounding them. RACHEL (CONT’D) Hold still. Rachel fires Marshall’s weapon at his handcuffs. Marshall’s free. The smoke and flames closing in. Rachel tries to get Marshall to his feet, he’s badly beaten and shot twice. They stumble to the ground. Rachel pulls Marshall’s face next to hers and shouts. RACHEL (CONT’D) We’re not going through all this shit to die in a fucking corn field. MARSHALL You give the worst advice of anyone I’ve ever met. RACHEL Yeah fuck you too. Rachel lifts him partially onto her shoulders, grits her teeth and charges out of the corn fields. 106.

EXT. CORNFIELD, SEATTLE - AFTERNOON Paramedics tend to Lara and several police officers. Firemen stare at the blaze shaking their heads, no point trying to put it out. Rachel emerges with Marshall on her back and falls to the ground exhausted. Paramedics rush to them. RACHEL You alright? Talk to me. MARSHALL Sssshh. All you want to do is talk. Marshall stubbornly smiles as smoke billows into the sky. Paramedics tend to Marshall and get him on a stretcher.

EXT. COOPER’S HOUSE, SEATTLE - MORNING Establisher. Lara enters Cooper’s house with ALI HARTNESS, 60, Cooper’s lawyer. ALI HARTNESS (O.S.) There are four bedrooms in the house. Three en-suite.

INT. COOPER’S HOUSE, SEATTLE - MORNING Lara, cleaned up and fresh-faced, walks with Hartness. LARA I know. ALI HARTNESS Mr. Cooper also left you his Mercedes and all of the funds in his four accounts. It’s quite a sum of money, he was obviously saving it for something or someone. LARA What happened to his family? He never told me. ALI HARTNESS Michael lost his wife and two daughters in the swimming pool. The electrics had just been fitted and where faulty. It was a freak accident. (MORE) 107. ALI HARTNESS (CONT'D) He retired and we never saw him after that. How did you meet him? LARA He was the judge in a case I was in with my father. He found me afterwards and just looked after me. I never asked him why. ALI HARTNESS Good people don’t need a reason.

EXT. BEACH, SEATTLE - DAY Marshall and Rachel, dressed casually head along the beach. The shore has eroded away. Faye runs toward them both. Her grandparents in the distance. She reaches them. FAYE Dad the water’s gone. MARSHALL This is not how I remember it. Faye looks at Rachel suddenly the protective, judgemental daughter. FAYE (To Rachel) Who are you? RACHEL I’m Rachel. I work with your Dad. FAYE Are you married? RACHEL Currently, yes. MARSHALL You know, Rachel saved my life. FAYE So. Faye takes Marshall by the hand giving Rachel the cold shoulder... who can’t help but smile.

THE END