Part 1

Fade In

HAYLEY (voiceover)
In life, we are all faced with a series of choices that could change everything. For better or for worse. The choices an average person would make is should I look for a new job or stick with the safety and security of my current job? Do I really love this person or is there someone better out there for me? I made my choices, just like everyone else. For better or for worse…

Cut to
EXT. – FRONT OF SCHOOL – MORNING

TAMARA, fifteen, is standing alone with her school bag in her hands. She is wearing her school uniform.
TAMARA watches BLAKE and SUSIE, both fifteen, as they sit on a bench and talk to each other. BLAKE slowly leans forward and kisses SUSIE on the lips, who responds. TAMARA sighs, longing that one day someone will care for her.

Cut to
INT. – SCHOOL CORRIDOR – MORNING

TAMARA stops outside her locker. She brings out her locker key and opens the locker. A note drops onto the floor.
TAMARA crouches down and picks it up. It reads: ‘Bike shed. End of the day. Blake.’ TAMARA smiles. Maybe she has found someone who cares for her after all…

Cut to
EXT. – SCHOOL BIKE SHED – AFTERNOON

TAMARA is standing alone at the bike shed, patiently awaiting BLAKE’S arrival. SUSIE walks to TAMARA. It is inaudible as TAMARA and SUSIE talk to each other.
TAMARA is visibly disappointed at the news that SUSIE has deceived her. A scuffle ensues and TAMARA is pushed to the floor, grazing her knees. SUSIE walks away, laughing. EDWIN, late twenties, stands behind TAMARA. He crouches down to TAMARA’S level and whispers in her ear.

EDWIN
Kill her.

Cut to
INT. – GIRLS TOILETS – MORNING

Page 1
SUSIE stands at the sink. She washes her hands and is about to dry them, but she is distracted by TAMARA walking inside the room. SUSIE smirks as a dagger is visible in TAMARA’S hands.
TARAMA repeatedly stabs SUSIE in the stomach with the dagger. SUSIE collapses to the floor, bleeding heavily. She dies. TAMARA looks at her hands and sees that they are covered in blood. She quickly washes them…

Cut to
EXT. – FRONT OF SCHOOL – MORNING

EDWIN is standing alone at the school gates. He watches TAMARA as she walks towards him. She stops. Silence.
EDWIN sees the blood stains on TAMARA’S shirt and is aware that TAMARA has murdered SUSIE. He rests his hand on TAMARA’S shoulder.

EDWIN
It was for the best.

Twenty-Two Years Later

Cut to
EXT. – CAR PARK ROOFTOP – NIGHT

MILES, mid-forties, a smartly dressed business associate, runs onto the roof. Sweating and out of breath, MILES is on the run. MILES runs to the edge of the roof and looks down at the ground. There are two dead bodies in the street.
MILES turns back around and jumps when he sees HAYLEY, late thirties, standing before him.

MILES (desperately)
Please. Show some mercy.

HAYLEY grabs hold of MILES and pushes him over the edge of the roof. He plummets to his death. HAYLEY brushes her hands and casually walks away.

Cut to
INT. – JACOB AND HAYLEY’S BEDROOM – NIGHT

JACOB, late thirties, is laying on the bed, asleep. The bedroom door creaks open and HAYLEY steps inside the room, wearing a nightgown.
HAYLEY gets in the bed with JACOB and watches him. Satisfied that he has not been disturbed, HAYLEY closes her eyes…


Page 2
Opening Titles

Cut to
INT. – JACOB AND HAYLEY’S KITCHEN – MORNING

HAYLEY places a plate of toast and a mug of tea on the table. JACOB walks inside the room, smartly dressed and with a briefcase in his hands.

JACOB
Morning, sweetheart.

JACOB and HAYLEY kiss. JACOB places the briefcase on the floor. HAYLEY watches JACOB as he eats a slice of toast.

HAYLEY
What time do you think you’ll finish today?

JACOB
It’s hard to tell. There’s a lot going on at the moment. I’ll try not to get back too late.

JACOB finishes eating the slice of toast. He picks up the mug of tea and takes a few mouthfuls of it. He places the mug back on the table.

JACOB (continued)
Right. I’m off.

JACOB and HAYLEY kiss. JACOB picks up his briefcase and walks out of the room. The front door can be heard closing as JACOB leaves the house.

Cut to
INT. – MASON’S HALLWAY – MORNING

STITCH, seventeen, walks down the stairs, listening to music on his iPod. He is wearing his school uniform and his rucksack is on his back.

STITCH (calling)
Cya, Dad!

There is no reply. STITCH opens the front door and walks out of the house. He closes the door.

Cut to
EXT. – MASON’S FRONT GARDEN – MORNING


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STITCH walks out of the front garden with his hands inside his trouser pockets. He walks down the street, pleased to be away from the house…

Cut to
INT. – JACOB AND HAYLEY’S SHED – MORNING

The shed door opens and HAYLEY walks inside the shed. She closes the door and switches the light on. The shed is filled with gardening materials.
HAYLEY lifts up a floorboard, revealing a control panel. HAYLEY types in a four digit code and the floor opens up, revealing a stairwell…

Cut to
INT. – HAYLEY’S ARMOURY – MORNING

HAYLEY walks down the stairwell and into the room. The light
switches on automatically, revealing several different weapons on the walls, such as: pistols, machine guns, shotguns, hand grenades, bulletproof vests and a rocket launcher.
Crates of ammunition are on the floor. There are piles of dollars, euros and international passports on a desk. There is also a computer inside the room, along with a screen on the wall. An image of SAM, early forties, who is sitting at a desk, is projected onto the screen.

SAM
Congratulations on yet another successful assignment. The money has been transferred into your bank account.

HAYLEY
The amount we discussed?

SAM
And a little extra for taking a swift approach to the matter. (pauses) When will you be ready for your next assignment?

HAYLEY
Whenever I’m needed. You know that.

SAM
Just thought I’d check. I’ll be in touch soon.

The screen cuts out.

Cut to
INT. – JACOB’S OFFICE – MORNING


Page 4
JACOB is sitting at the desk, typing up a report on the laptop. He has a pair of glasses on. JACOB’S briefcase is on the floor, next to the desk.
There is a knock on the office door and it opens. FRANCESQA, early thirties, walks inside the room with a mug of tea in her hands.

FRANCESQA
I brought you some tea.

JACOB
Ah, thank you.

JACOB takes his glasses off and places them on the desk as FRANCESQA stands in front of him. She hands the mug of tea to JACOB, who takes a sip of it. FRANCESQA sits in front of him.

FRANCESQA
So I was wondering if you were free after work. If you are, do you want to come over?

JACOB
I would, but it’s Hayley’s turn cooking. You knows what she’s like if I miss dinner.

FRANCESQA
How about now if you’re not too busy?

JACOB smiles. He places the mug of tea on the desk and gets to his feet. He closes the office door, then turns back to face FRANCESQA, who gets to her feet. They kiss and begin undressing each other.

Cut to
INT. – SCHOOL GYM – MORNING

STITCH and MEGAN, sixteen, are standing in the middle of the room, rehearsing for the school play. They are playing the two main characters. They each have a copy of the script in their hands and their bags are in the corner of the room.

MEGAN
So when I say my line, you say yours straight after.

STITCH
How shall I say it?

MEGAN
Try and say it from the heart. Put some emphasis into it, but

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don’t over-do it.

STITCH pulls a shocked face. MEGAN laughs. There is an
awkward silence between them. STITCH slowly leans forward. He is about to kiss MEGAN, unaware that BULLY 1, BULLY 2 and BULLY 3 are standing inside the room.

BULLY 1
How cute. I hope we weren’t interrupting you.

STITCH and MEGAN face them awkwardly. BULLY 1, BULLY 2 and BULLY 3 walk towards them. BULLY 1 punches STITCH in the stomach. STITCH groans and drops to his knees. BULLY 1, BULLY
2 and BULLY 3 walk out of the room, laughing.

MEGAN
Maybe we should call it a day.

STITCH
No. (gets to his feet) Let’s go again.

Cut to
INT. – SUPERMARKET – AFTERNOON

HAYLEY is pushing a trolley down the biscuit and crisps aisle. The trolley is filled with soft drinks, a crate of beer and also refrigerated and non-refrigerated foods. HAYLEY picks up a packet of biscuits and puts them inside the trolley.

Cut to
INT. – HAYLEY’S CAR – AFTERNOON

The car is parked in the car park of the supermarket. HAYLEY sits in the driver’s seat and puts her handbag on the front passenger’s seat. HAYLEY watches a car as it parks in the parking space next to the car.
As the DRIVER gets out of the car, the door hits the side of HAYLEY’S car. HAYLEY is visibly outraged. She takes a deep breath in an attempt to calm herself down.

Cut to
INT. – JACOB AND HAYLEY’S HALLWAY – EVENING

The front door opens and JACOB walks inside the house with his briefcase in his hands. He closes the door and leaves the suitcase on the floor.

JACOB (calling)
Honey, I’m home!

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HAYLEY
I’m in here!

JACOB walks across the hallway, towards the kitchen…

Cut to
INT. – JACOB AND HAYLEY’S KITCHEN – EVENING

HAYLEY is standing at a worktop, reading a magazine. A pair of oven gloves are next to the magazine. JACOB walks inside the room. He stands behind HAYLEY and kisses her on the neck.

HAYLEY
How was work?

JACOB
Strenuous.

HAYLEY
At least you’re home now.

JACOB
Mmm, What’s for dinner?

HAYLEY suddenly realizes that a roast chicken is cooking in
the oven.

HAYLEY
Oh no! The chicken!

HAYLEY quickly puts on the oven gloves. She opens the oven
door and thick smoke exits the oven. HAYLEY brings out the chicken, which is badly burnt.

JACOB
I’ll order something in.

Cut to
INT. – JACOB AND HAYLEY’S LIVING ROOM – EVENING

JACOB and HAYLEY are sitting on the floor in complete silence. They are each eating a portion of fish and chips.

HAYLEY
I’m really sorry for messing up dinner. I can’t believe it happened.

JACOB
It’s fine. Better than undercooking it.

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HAYLEY
The last time we ate this, it was the night we met. Do you remember?

JACOB
How can I not remember the night I met the most beautiful woman on the planet?

HAYLEY smiles. JACOB slowly leans forward and kisses HAYLEY on the lips, who responds.

Cut to
INT. – PUB – EVENING

JACOB is sitting alone at a table in the corner of the room. MASON, early forties, stands at the table with two pints of beer in his hands.

MASON
Here you go, mate.

MASON places the two pints of beer down on the table and sits down. They each take a sip of the beer.

MASON (continued)
So how’s things between you and Hayley? It’s been a while
since I’ve seen you two together.

JACOB
I’m busy with work. She’s always out running youth and charity
events. I barely get to see much of her anymore.

MASON
What about the other bird you’re seeing?

Cut to
INT. – VILLAGE HALL – EVENING

HAYLEY is sitting on a chair. Her handbag is on the floor, next to the chair. STITCH is standing amongst a small group of teenagers, who are talking to each other.
He is now wearing casual clothes and has sweatbands covering his wrists. HAYLEY gets to her feet and claps her hands. The room falls silent.

HAYLEY
I’m afraid that’s all we’ve got time for today. I’ll see you all the same time next week.


Page 8
All the teenagers leave the room, all except STITCH, who walks to HAYLEY.

STITCH
Thank you, Mrs H. Tonight was fun.

HAYLEY
(picks up her handbag) I’m glad you enjoyed yourself.

HAYLEY and STITCH walk towards the entrance of the building.

HAYLEY (continued)
How are things back home?

STITCH
They’re getting better. Dad actually knows I exist, which is a miracle as he spends most of the time down the pub.

HAYLEY
A typical man.

STITCH
(laughs) Yeah. I hope that’s not me in ten years time.

HAYLEY
Tell me. Are you still at school?

STITCH
Upper sixth form.

HAYLEY
How’s that going for you?

STITCH
All right, I guess.

Cut to
EXT. – OUTSIDE THE VILLAGE HALL – EVENING

HAYLEY’S car is parked by the edge of the road. There is a parking ticket on the windscreen.
HAYLEY and STITCH walk out of the village hall. HAYLEY has her handbag in her hands and is talking with STITCH. HAYLEY sees the parking ticket on the windscreen.

HAYLEY
A parking ticket. Typical.

STITCH

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Owned.

HAYLEY
(faces STITCH) How are you getting home?

STITCH
Bus. It’s how I roll.

HAYLEY
I could give you a lift if you like.

STITCH
No, thanks. I pay for a bus pass, so I might as well use it.

HAYLEY
I’ll see you next week. Take care of yourself, Stitch.

STITCH walks down the street with his hands inside his jean
pockets. HAYLEY removes the parking ticket from the windscreen and screws it up.

Cut to
INT. – JACOB AND HAYLEY’S BEDROOM – NIGHT

HAYLEY is laying on the bed, reading a book. The main light is off, but the bedside lamp is on. The front door can be heard opening and closing as JACOB arrives home from the pub.
A vase can be heard smashing. HAYLEY puts the book down. She reaches underneath the bed, bringing out a gun. HAYLEY gets to her feet and walks out of the room.

Cut to
INT. – JACOB AND HAYLEY’S HALLWAY – NIGHT

Darkness. HAYLEY walks down the stairs with the gun in her hands. She switches the hallway light on and sees JACOB crouching down, picking up the shards of the broken vase. He is visibly drunk. HAYLEY puts the gun away and sighs.

HAYLEY
Jacob.

JACOB
It sorta fell. I’m sorry.

HAYLEY
Never mind.

HAYLEY takes the broken shards from JACOB and places them on a

Page 10
shelf. She then helps JACOB to his feet. He touches her face.

JACOB
I love you so much. I hope you know that.

HAYLEY
Let’s get you to bed.

HAYLEY helps to support JACOB as they walk towards the stairs.

Cut to
INT. – JACOB AND HAYLEY’S BEDROOM – NIGHT

JACOB collapses onto the bed. HAYLEY lays on the other side of the bed. She picks up her book and continues reading it. JACOB stares at HAYLEY adoringly.

JACOB
When was the last time we had sex?

HAYLEY
A while ago.

JACOB
What do you say? I’m all for it.

HAYLEY faces JACOB. She smiles and puts the book on the bedside cabinet. She gets to her feet and switches the light off. HAYLEY looks back to JACOB and sees that he is asleep. She sighs and gets back into bed. Fade to black.

Cut to
INT. – JACOB AND HAYLEY’S HALLWAY – MORNING

JACOB walks down the stairs with his briefcase in his hands. He walks to the front door, unaware that HAYLEY is standing in the doorway of the kitchen.

HAYLEY
Don’t even get a kiss before you go?

JACOB
(faces HAYLEY) I thought you’d already left.

HAYLEY walks to JACOB and kisses him on the lips.

HAYLEY
I love you.


Page 11
JACOB opens the front door and walks out of the house. HAYLEY
watches JACOB as he walks towards his car, which is parked on the driveway.

Cut to
INT. – HAYLEY’S ARMOURY – MORNING

HAYLEY is standing at the desk with two revolvers in front of her. She picks them and loads them. She puts them back on the desk. An image of SAM projects onto the screen.

SAM
I have your next assignment. The target’s name is Damien Richards.

An image of JACOB is projected onto the screen. All of his personal information matches that of JACOB’S.

HAYLEY
How reliable is the intel?

SAM
One hundred percent, as per usual. The rates of pay remain the same. Good luck.

The screen cuts out. HAYLEY walks to the computer. She turns the screen on and loads up the search engine.
She types in JACOB’S name. JACOB’S personal details load onto the screen. HAYLEY types in DAMIEN’S name into the search engine. No results are found.

HAYLEY
Who are you?

Cut to
INT. – OUTSIDE JACOB’S OFFICE – MORNING

The office door opens and FRANCESQA walks out of the office, giggling. She is slightly blushed and the top three buttons on her shirt are undone. FRANCESQA closes the office door and walks away.

Cut to
INT. – OFFICE BLOCK CAFÉ – MORNING

HAYLEY is sitting at a table on her own, thinking about her assignment. HAYLEY’S handbag is on top of the table. FRANCESQA walks past HAYLEY with a mug of coffee in her hands. She recognizes HAYLEY and sits at the table with her.

Page 12
FRANCESQA
I work with your husband. The name’s Francesqa. (pauses) That is why you’re here? To see him?

HAYLEY
Yes.

FRANCESQA
I could take you to his office.

HAYLEY
No. That won’t be necessary.

HAYLEY picks up her handbag and gets to her feet.

HAYLEY (continued)
Tell me. Does a man called Damien Richards work here?

FRANCESQA
Not that I know of. Why?

HAYLEY
I’m just curious.

FRANCESQA watches HAYLEY as she walks towards the entrance of the building.

FRANCESQA
Hayley.

HAYLEY turns back to face FRANCESQA.

FRANCESQA (continued)
It was nice meeting you.

HAYLEY smiles.

Cut to
INT. – JACOB AND HAYLEY’S KITCHEN – EVENING

JACOB and HAYLEY are sitting at the table in complete silence.
They each have a plate of food, cutlery and a can of beer in front of them. Their meals remain untouched.
HAYLEY’S hands are underneath the table. JACOB is unaware
that HAYLEY has poisoned his meal. JACOB is suspicious of HAYLEY’S quiet behaviour.

JACOB
You don’t seem yourself.

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HAYLEY
(smiles) Sorry.

JACOB picks up his cutlery. He is about to take a mouthful of food, but puts the cutlery back down.

JACOB
Are you divorcing me?

HAYLEY
No. Just killing you.

HAYLEY brings out a dagger from underneath the table and throws it at JACOB. The dagger narrowly misses JACOB. In the process of trying to get up, JACOB falls backwards off his chair and onto the floor.
HAYLEY brings out another dagger. JACOB grabs hold of the chair and uses it as a shield. HAYLEY throws the dagger at JACOB. It gets stuck in the chair. JACOB gets to his feet, still holding onto the chair.

JACOB
Whatever I’ve done to piss you off, I’m very sorry. Please. Can we just talk about this?

HAYLEY
Is your name Damien Richards?

JACOB
No! Honey, you know my name. It’s Jacob. I don’t even know someone called Damien.

HAYLEY
Liar!

HAYLEY brings out another dagger.

JACOB
Honey, put the knife down.

HAYLEY repeatedly tries to stab JACOB with the dagger. JACOB
pushes HAYLEY back with the chair. She falls onto the table and rolls onto the floor. JACOB throws the chair to the floor and runs towards the kitchen door.

JACOB (loudly)
We’ll talk about this when you’re not so mad!

HAYLEY quickly brings out a pistol and aims it at JACOB. She

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pulls the trigger repeatedly JACOB runs out of the room and the bullets go into the wall. HAYLEY gets to her feet. She reloads the gun as she walks towards the kitchen door…

Cut to
INT. – JACOB AND HAYLEY’S HALLWAY – EVENING

JACOB opens the front door. He turns around and sees HAYLEY walk out of the kitchen with the pistol in her hands. She repeatedly shoots at JACOB, each of the bullets missing him.
JACOB screams and sprints out of the house. JACOB reappears in the doorway of the house and closes the front door. HAYLEY runs towards the front door.

Cut to
EXT. – JACOB AND HAYLEY’S FRONT GARDEN – EVENING

JACOB runs to his car, which is parked on the driveway. He brings out his car keys and accidentally drops them on the floor.

JACOB
Shit.

JACOB picks up his car keys as the front door opens and HAYLEY walks out of the house, with the pistol in her hands.
She opens fire on JACOB. JACOB puts the car keys back inside his pocket and runs out of the garden. He sprints down the street, desperate to get away from HAYLEY.

JACOB (shouting)
You’re mental, woman! An absolute nutter!

HAYLEY
(sighs) Hurry up and die already.

Cut to
EXT. – STREET – EVENING

JACOB is sprinting down the street, desperate to get away from
HAYLEY. He is running out of breath and his pace is slowing. JACOB turns around and sees that no one is there. Relieved that he has escaped from HAYLEY, JACOB stops running.
JACOB walks down the street as he brings out his phone and scrolls through his contacts until he reaches MASON’S number. He rings it. MASON answers the phone.

MASON
Hello?

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JACOB (out of breath)
Mason, it’s me. This is going to sound completely ridiculous, but Hayley’s trying to kill me. She just flipped out on me.

MASON
All right. All right. Calm down. Where are you?

JACOB
I’m…

A car can be heard approaching behind JACOB. JACOB turns around and sees HAYLEY driving towards him. JACOB cuts off the call and sprints down the street.

JACOB (nervously)
This isn’t real. This isn’t real.

HAYLEY keeps a short distance away from JACOB. She slowly drives into him, purposely un-harming him.
JACOB falls to the floor. He quickly gets to his feet and
runs to the other side of the road to avoid being run over by HAYLEY. HAYLEY pulls up alongside JACOB and opens the window so that she can talk to him.

HAYLEY
Hey, lover.

JACOB
Stop this now! I could get hurt!

HAYLEY
That’s the point!

JACOB
If I’m still alive by the morning, you’re so divorced!

HAYLEY laughs. She brings out a pistol. JACOB screams as HAYLEY shoots at him. The bullets miss. JACOB spots JIMMY and REBECCA’S house towards the end of the street. He runs towards
it…

Cut to
EXT. – JIMMY AND REBECCA’S FRONT GARDEN – EVENING

JACOB runs across the front garden. He stops at the front door and repeatedly bangs on it.
HAYLEY stops the car by the edge of the car. She gets out of the car and walks towards JACOB. The front door opens. JIMMY and RACHEL, both mid-forties, stand in the doorway of

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the house.

REBECCA (concerned)
Jacob? What’s the matter?

HAYLEY stands with JACOB.

HAYLEY
We came to see how you were. We hope you don’t mind.

Cut to
INT. – JIMMY AND REBECCA’S LIVING ROOM – EVENING

JACOB and HAYLEY are sitting on the settee in complete silence. JIMMY and REBECCA walk inside the room, each with a mug of coffee in their hands. They sit on the settee opposite JACOB and HAYLEY.

REBECCA
Are you sure you don’t want a drink?

HAYLEY
No, thank you.

REBECCA
(faces JACOB) Jacob?

JACOB
I’m fine. I wouldn’t mind using your bathroom if it’s at all possible?

REBECCA
Of course. Go up the stairs and it’s the first door on your right.

Both JACOB and HAYLEY get to their feet.

JIMMY
Surely you both don’t need to go?

HAYLEY
I know, but Jacob doesn’t like to go on his own.

JACOB
Oh, I think I’ll be able to manage, dearest.

HAYLEY sits back down. JACOB walks out of the room and HAYLEY smiles awkwardly.


Page 17
Cut to
INT. – JIMMY AND REBECCA’S BATHROOM – EVENING

The bathroom door opens and JACOB walks inside the room. He switches the light on, closes the bathroom door and locks it.
JACOB looks around the room for a possible way out. The bathroom door is suddenly kicked open and HAYLEY walks inside
the room. She closes the door.

JACOB
You can’t kill me. Jimmy and Rebecca are downstairs.

HAYLEY
If I were going to kill you here, you’d already be dead.

JACOB
(smiles) I knew you’d come around.

JACOB goes to hug HAYLEY, but she brings out a pistol and aims it at his stomach.

HAYLEY
If you want to live, you better start talking. I want to know everything.

JACOB (reluctantly)
I’m having an affair.

HAYLEY is visibly shocked by what JACOB has just told her.

HAYLEY
(stutters) You…you can’t be. If you were seeing someone else, I would know.

JACOB
So what? You’ve been following me now?

HAYLEY is silent.

JACOB (continued)
I feel violated. What you’ve been doing tonight is a complete violation of my human rights. You…you should see a counselor.

HAYLEY
I did. He said something I disagreed with, so I killed him.

JACOB
No! You can’t do that! Just because someone says or does something you don’t agree with, it doesn’t mean you kill them.

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JACOB suddenly realizes that throughout their entire marriage, HAYLEY has murdered every person whom they have had a disagreement with.

JACOB (continued)
That guy at the supermarket. You shot him, didn’t you?

HAYLEY
I asked him to move his trolley, but he ignored me. He was so rude.

JACOB
I can’t believe I’m hearing this. (paces up and down the room) I should report you to the police.

HAYLEY loads the gun.

JACOB (continued)
Or we could give our marriage another go.

HAYLEY
I was considering letting you live, but the fact you’ve been sleeping with another woman has ruined your chances.

JACOB
(mutters) I love you.

JACOB headbutts HAYLEY. She drops the gun on the floor. HAYLEY retaliates by punching JACOB in the face, breaking his nose. HAYLEY pushes JACOB to his knees and lifts up the toilet seat.
HAYLEY holds JACOB’S head in the toilet and flushes it. JACOB chokes. HAYLEY is suddenly distracted by REBECCA knocking on the bathroom door.

REBECCA (calling)
Is everything all right in there?

HAYLEY
Yes! Everything’s fine!

HAYLEY lets go of JACOB, who chokes. She walks towards the bathroom door. She is about to pick up the gun, but JACOB gets to his feet. He charges into HAYLEY and they both fall into the bathtub. HAYLEY attempts to force JACOB off of her, but JACOB grabs hold of HAYLEY’S head and hits it on the side of the bathtub. HAYLEY is knocked unconscious.
JACOB gets out of the bathtub. He picks up the gun from off the floor and puts it inside his jacket. He opens the bathroom door and walks out of the room.

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Cut to
INT. – JIMMY AND REBECCA’S HALLWAY – EVENING

JACOB walks casually down the stairs, acting as if the fight with HAYLEY never happened. JACOB opens the front door,
unaware that JIMMY and REBECCA are standing in the doorway of
the living room. JACOB turns to face them.

JACOB
Thank you for your hospitality.

JACOB opens the front door and walks out of the house. He closes the door.

Cut to
INT. – MASON’S HALLWAY – NIGHT

There is a knock on the front door. MASON walks out of the kitchen with a half empty can of beer in his hands.
He walks across the hallway, towards the front door.
MASON opens the front door and sees JACOB standing in the doorway of the house.

Cut to
INT. – MASON’S KITCHEN – NIGHT

JACOB and MASON are sitting at the table, quietly talking to each other. They each have a half empty can of beer in front of them, which they are drinking from.

JACOB
Honestly, mate. I don’t know what I’ve done to piss her off, but there’s no stopping her. She’s like the Terminator.

MASON
So what you’re saying is That you married a professional killer?

JACOB
Sounds pathetic, but I’m not lying.

JACOB takes a mouthful of beer.

MASON
When did she first try to kill you?

JACOB
At dinner. I think she tried poisoning me. Mind you, it’s not the first time I’ve been poisoned with her cooking.

Page 20
They are unaware that STITCH is standing in the doorway of the room.

STITCH
I’m going to bed now, Dad.

MASON
Goodnight, Stitch.

STITCH walks out of the room. JACOB and MASON hear STITCH walking up the stairs.

MASON (continued)
So why is Hayley trying to kill you?

JACOB
She thinks my name’s Damien Richards, whoever the hell that is.

JACOB takes another mouthful of beer as MASON gets to his feet.

MASON
She’s wrong.

JACOB
You don’t need to tell me twice.

MASON
I’m Damien Richards.

MASON brings out a gun from his jacket. He is about to shoot JACOB, but MASON is shot in the arm through the window. MASON falls back against the wall and drops the gun on the floor.
JACOB gets to his feet and brings out the pistol from his jacket. He aims it at MASON. The back door opens and HAYLEY steps inside the room with two pistols in her hands. She keeps one pistol aimed at JACOB and the other aimed at MASON.

HAYLEY
Damien Richards. Which one of you is it?

JACOB points to MASON.

HAYLEY (continued)
Why do they want me to kill you? You carry a weapon, so you’re a threat of some sort.

MASON

Page 21
I don’t know. I swear I’m telling you the truth.

HAYLEY shoots the wall above MASON’S head.

MASON (desperately)
All right. I’ll tell you everything you need to know. Just
don’t kill me.

HAYLEY
Start talking.

MASON
I found out something I wasn’t supposed to know. The firm you work for, has been working with the government. I think you know what for.

JACOB
Wait. You knew she was a killer?

MASON
Of course I knew. The firm I was working for assigned me to find out if she knew anything. The evidence is most conclusive.

HAYLEY
What do they do to the people who find out?

MASON
I think you know.

They are distracted by the sound of STITCH walking down the stairs and walking inside the room.

STITCH
What’s going on?

MASON suddenly grabs hold of STITCH and uses him as a human shield. He also brings out another gun and puts it against STITCH’S head.

MASON
Make a move and I’ll kill him.

STITCH (struggling)
Dad, please. Let me go.

HAYLEY
Stay still, Stitch. I’ll get you out of this.


Page 22
MASON
Don’t think I won’t do it.

STITCH
Hayley.

JACOB pulls the trigger, but the gun clicks. MASON uses the
distraction to walk backwards to the kitchen door.

MASON
Don’t follow me.

MASON pushes STITCH away from him. He turns and sprints out of the room.

HAYLEY
(faces JACOB) Look after him.

HAYLEY runs out of the room, in pursuit of MASON. JACOB looks at the gun.

JACOB
Fat lot of good this is.

Cut to
EXT. – MASON’S FRONT GARDEN – NIGHT

HAYLEY sprints out of the house with two pistols in her hands. HAYLEY watches as MASON’S car reverses off the driveway and travels down the street. HAYLEY sighs and puts the pistols away…

Cut to
INT. – MASON’S HALLWAY – NIGHT

HAYLEY walks inside the house and closes the front door.
JACOB and STITCH walk out of the kitchen. STITCH is shaken by what has just happened.

JACOB
How the hell do you two know each other?

HAYLEY
I’m his youth worker.

JACOB
Great. That explains a lot. (pauses) So are you still trying to kill me?


Page 23
HAYLEY
That depends. Have you been sleeping with anyone else?

JACOB shakes his head.

HAYLEY (continued)
Good.

STITCH
(stutters) I…I don’t get it. What just happened? My Dad.

HAYLEY
I’m an assassin. I kill people for money. Cooking’s something I’m not good at, but killing, I am. I need to search the house to see if I can find any intel. Stitch, you’re with me. Jacob, check to make sure Mason doesn’t return.

JACOB
And how am I supposed to defend myself if he does?

HAYLEY
You’re a big boy. Think of something.

HAYLEY runs up the stairs. STITCH walks after her. JACOB sighs.

Cut to
INT. – MASON’S BEDROOM – NIGHT

HAYLEY puts on a pair of leather gloves as she walks inside the room. She is followed closely by STITCH. HAYLEY picks up a bag from off the floor and begins searching the room.

STITCH
What are we looking for?

HAYLEY
Laptops, paperwork. Anything that will give an indication as to what we’re up against.

HAYLEY looks inside the wardrobe. She sees MASON’S clothes hanging up inside it. HAYLEY closes the wardrobe door and searches through a chest of drawers. She is not able to find anything.

STITCH
Dad keeps his laptop downstairs. In the living room.

HAYLEY

Page 24
Let’s go.

Cut to
INT. – MASON’S HALLWAY – NIGHT

JACOB is standing at the bottom of the stairs, patiently waiting for HAYLEY and STITCH to finish searching through MASON’S personal belongings. HAYLEY and STITCH hurry down the stairs. HAYLEY has the bag in her hands.

JACOB
(faces HAYLEY) Find anything?

HAYLEY
Not now.

HAYLEY walks towards the living room. STITCH walks after her. He struggles to keep up with her.

Cut to
INT. – MASON’S LIVING ROOM – NIGHT

HAYLEY walks inside the room and switches on the light. She is followed closely by STITCH. HAYLEY sees MASON’S laptop on the settee. She picks it up and puts it inside the bag. She turns to face STITCH.

HAYLEY
Anything else?

STITCH
I don’t know. I don’t know where dad keeps most of his stuff.

JACOB stands in the doorway of the room.

JACOB
It would actually be nice to know what the hell is going on. I’ve been shot at by my wife and my best friend!

HAYLEY looks around the room. She remains distracted from JACOB.

JACOB (continued)
You’re not even listening to me!

HAYLEY
Quiet!

JACOB sighs. HAYLEY walks to the lamp in the corner of the

Page 25
room. She brings out a wire from it and holds it in front of JACOB and STITCH. HAYLEY puts the wire on the floor and stomps on it, breaking it.

HAYLEY (continued)
The whole house must be covered in these. We need to leave. I’ll explain everything at the house.

Cut to
INT. – JACOB AND HAYLEY’S SHED – NIGHT

The shed door opens and HAYLEY walks inside the shed with the bag in her hands. She is followed closely by JACOB and STITCH. HAYLEY switches the light on.

HAYLEY
Make sure you close the door.

STITCH closes the shed door. HAYLEY gets on her knees and lifts up the floorboard that contains the control panel.
HAYLEY types in the four digit code and the floor opens up, revealing the stairwell.

JACOB (surprised)
You have an underground base in our shed?!

HAYLEY
Honey, if you ever bothered coming in here, you might’ve found it.

Cut to
INT. – HAYLEY’S ARMOURY – NIGHT

HAYLEY walks down the stairwell, with the bag in her hands, and walks into the room. The lights automatically turn on. HAYLEY is followed closely by JACOB and STITCH, who are shocked by the number of weapons on the wall.

STITCH
Whoa.

HAYLEY
Don’t touch anything. You might just blow your face off.

HAYLEY places the bag on the table. She then switches the computer screen on. CCTV footage of different parts of the house, loads onto the screen. JACOB stands with HAYLEY.

STITCH

Page 26
This doesn’t feel right. You’re my youth worker.

JACOB
And she’s my wife. (faces HAYLEY) It’s time for some answers.
Firstly, why did you try to kill me?

HAYLEY
(sighs) Because it was my assignment. It was to take out a man named Damien Richards. His image was of you.

JACOB
Clearly you received false intelligence or something.

HAYLEY
No. The intel is never off. I’ve been doing this for over twenty years. The intel’s never been off.

JACOB
Well if they checked their records, they would’ve seen that we
were married and I’m in no way connected to any of this.

HAYLEY is silent. JACOB realizes that HAYLEY has not told the organization that she is married to him.

JACOB (continued)
They don’t know, do they?

HAYLEY
It’s against the rules. Marriage or love is forbidden.

JACOB
Why?

HAYLEY
Because one day, I might have to kill you. To not love prevents us from becoming emotionally compromised.

JACOB
Evidently, you’re the odd one out.

HAYLEY
I did not want to kill you. For the first time in my life, I hesitated. If I wanted you dead, you would’ve never made it back from work. (pauses) This is the least of my worries at the moment.

JACOB
Well it’s not the least of mine. If you want to at least try and salvage this relationship, we need to talk.

Page 27
HAYLEY
Why don’t you start by explaining why you cheated on me, hey? I know I’ve made mistakes, but the one thing I’ve never
faltered is being a good wife to you.

JACOB (reluctantly)
Her name’s Francesqa. We work together.

HAYLEY
Francesqa. That’s a start.

STITCH
Stop. Please. I don’t want to hear this.

HAYLEY and JACOB turn to face STITCH. They look back at each
other. HAYLEY sighs and faces STITCH.

HAYLEY
Sorry. You shouldn’t have to hear this. (faces JACOB) This isn’t over.

Cut to
INT. – EDWIN’S OFFICE – NIGHT

EDWIN, now late forties, is sitting at the desk, listening to MASON as he talks to him. MASON’S wounded arm is now in a sling.

MASON
One of your people did this to my arm and kidnapped my son. Now, I don’t need to remind you what the consequences of this are. I am willing to help you put this right.

EDWIN
And what are you hoping to get from this? Payment?

MASON
No. The chance to get even. As soon as my son has been returned to me safely, I am willing to put this behind us.

EDWIN
(smiles) It appears we have a deal.

EDWIN holds his hand out and MASON shakes it.

Cut to
INT. – HAYLEY’S ARMOURY – NIGHT

HAYLEY, JACOB and STITCH are standing inside the room, talking

Page 28
to each other.

JACOB
We know who Damien Richards is. It’s Mason.

HAYLEY
Your best friend.

JACOB
Ex-best friend. He no longer was my friend after he pulled a gun on me.

STITCH
I can’t believe he did that. I thought I knew Dad. Turns out, I don’t know him at all.

HAYLEY loads up the search engine on the computer. JACOB and
STITCH crowd behind HAYLEY.

HAYLEY
If I run his name through the system, I get nothing.

HAYLEY types MASON’S name into the search engine. No results are found. HAYLEY types STITCH’S name into the search engine. No results are found.

STITCH
I’m not on there.

JACOB
What does that mean?

HAYLEY
They don’t exist. This search engine identifies any living person. (faces STITCH) There’s not a single record of you ever existing. My only guess is that you’re protected by the people your Dad’s working for. Either that or you’re being protected
by the government.

JACOB
Why would they do that?

HAYLEY
I don’t know. (faces STITCH) You spent a lot of time at home. Did you notice anything out of the ordinary? Anything that made you question your Dad?

STITCH
I don’t know. I spent most of the time in my room, going

Page 29
online and stuff.

JACOB
I’m going to get some bedding.

JACOB walks up the stairwell and out of the room.

STITCH (reluctantly)
More and more recently, Dad had people over at the house. I thought they were people he worked with.

HAYLEY
Do you remember what they look like?

STITCH
No. Dad always made sure I went to my room before they arrived. The weird thing is, Dad never used to be like this. It was only when Mum died. That was six years ago now.

HAYLEY
I know this is hard for you, but I need to know what happened. How did she die?

STITCH
It was my birthday. We’d just been out for a meal. We were on our way home when something ran out in front of the car. Dad lost control of the car and crashed. Mum was still alive, but we had to wait ages for the ambulance to reach us. By the time they got to us, Mum…died. (pauses) Dad blamed me because it was my birthday and if it was any other night, we would’ve been at home.

HAYLEY
I’m very sorry for your loss.

STITCH
I knew it would take time, but things never got better. Dad
grew depressed and would often hit me.

STITCH removes the sweatbands, revealing two badly scarred wrists. HAYLEY looks at them in horror.

STITCH (continued)
I thought cutting myself would make things better.

Cut to
INT. – JACOB AND HAYLEY’S BEDROOM – NIGHT

JACOB is standing in the middle of the room, talking to

Page 30
FRANCESQA on the phone. He talks quietly to avoid the conversation being overheard by HAYLEY.

JACOB
I know. I don’t like it either, but it’s only for a while. Just until things die down at my end.

FRANCESQA
It’s not you. It’s her. I don’t trust her…

Cut to
INT. – HAYLEY’S ARMOURY – NIGHT

HAYLEY and STITCH are standing inside the room in complete silence. HAYLEY checks the CCTV footage of the house to make sure their location has not been compromised. They are clear.

STITCH
Why do you do this? Out of all the careers you could choose
from, why this?

HAYLEY
When I was at school, I used to be very lonely. No one ever bothered talking to me. When they did, it was only to mock me. I had this crush on a boy. Blake. He was very handsome, but he already had a girlfriend. I knew nothing would never happen between us, but I was allowed to dream. (pauses) I found a note in my locker. It was from Blake. He said he wanted to meet me at the end of the day. I was so excited.

STITCH smiles, captivated by the story that HAYLEY is telling him.

HAYLEY (continued)
The letter turned out to be from Blake’s girlfriend. I was so upset. This man found me and told me that no one had to put up with what I had been through. He offered me a way out, which
was to kill her.

STITCH
Did you? Kill her?

HAYLEY
I did what I had to do. That man taught me everything I know and also introduced me to the organization I work for. (pauses) You’re the first person I’ve ever told this to. If you tell this to anyone else, I’m afraid I’d have to kill you.

STITCH

Page 31
If you had the chance to turn back time and not kill her, would you?

HAYLEY
Of course. I don’t like what I’ve become. That’s why I get involved in local activities. It’s the only way I can at least attempt to lead a normal life.

JACOB walks down the stairwell with three sets of duvets and three pillows in his hands. He places them on the floor.

JACOB
We’ve got beds.

HAYLEY
(faces STITCH) It’s really late. You should think about getting some sleep.

JACOB picks up a duvet and a pillow and holds them out to
STITCH, who takes hold of them.

JACOB
Goodnight, chap.

STITCH
Night.

STITCH places the pillow on the floor in the corner of the room. He lays on the floor with his head on the pillow. He covers himself with the duvet and closes his eyes.
Within moments, STITCH is asleep. HAYLEY sits on the floor with her back against the wall. JACOB sits beside her and puts his arm around her shoulders.

JACOB (quietly)
Did you get anything from him?

HAYLEY
No. Did Mason ever mention anything to you? Not even briefly?

JACOB
Only what he said tonight. He said that your firm has been working for the government. Maybe he’s trying to make them pay for something.

HAYLEY
It’s too big a thing for one man to do on his own. Whatever’s going on, I don’t get it. Nothing’s making sense. The only thing that does make sense is my firm wanting you dead.

Page 32
JACOB
I’m just an accountant. I’m nothing.

HAYLEY
You’re my husband.

JACOB smiles. They both kiss.

JACOB
The night we met, was that by chance or were you on the run?

Cut to
INT. – WAREHOUSE TOP FLOOR – EVENING – FLASHBACK

HAYLEY, now early thirties, punches VICTIM 1 in the face. VICTIM 1 rolls over the top of a desk and lands on the floor. HAYLEY stands behind VICTIM 1 and grabs hold of his neck.
She twists it, breaking VICTIM 1’S neck. She lets go of VICTIM 1 and he collapses to the floor, dead. Police sirens can now be heard in the distance…

Cut to
EXT. – OUTSIDE THE FISH AND CHIP SHOP – EVENING – FLASHBACK

HAYLEY is walking casually down the street. She is careful not
to attract any unwanted attention towards herself. HAYLEY watches a police car as it travels in the direction of the warehouse, sirens blazing.
HAYLEY does not notice JACOB, now early thirties, walking out of the fish and chip shop, eating a portion of chips. HAYLEY accidentally walks into JACOB, knocking the chips out of his hands.

HAYLEY (apologetically)
I’m so sorry! I wasn’t watching where I was walking. Let me buy you some more.

JACOB
No, no. It’s fine. (smiles) I’m Jacob.

HAYLEY
Hayley.

Cut to
EXT. – STREET – EVENING – FLASHBACK

JACOB and HAYLEY are sitting on a bench, each eating a portion of fish and chips. They are talking as they eat.


Page 33
JACOB
Are you local or from out of town?

HAYLEY
I’m not from around here. I’m just passing through. I travel a lot, so it made sense to make a passing visit. How about yourself?

JACOB
(eats a handful of chips) Local. Lived here all my life. I like it here and have no reason to leave, so why bother going?

HAYLEY
Don’t you get bored of the same routine? Getting up, going to work, coming home, eating fish and chips.

JACOB
It’s what I like doing. I’ve got no one else to worry about.
Have you got someone back home?

HAYLEY
Just me.

JACOB
You’re beautiful.

HAYLEY
I bet you say that to all the girls.

JACOB
Surprisingly, you’re one of the first.

They eat in silence.

Cut to
INT. – HAYLEY’S CAR – NIGHT

The car is parked on the ground floor of the car park. HAYLEY is sitting in the driver’s seat, patiently waiting.
The front passenger’s door opens and SAM gets in the car. She has a file in her hands. She closes the car door.

HAYLEY
Did you come alone?

SAM
Yes. And I even made sure I wasn’t followed. (pauses) I
found out everything you asked me to.


Page 34
SAM hands the file to HAYLEY, who flicks through it.

SAM (continued)
Took me a while, but it’s all in there. The first few pages contains a list of all the government related killings.

HAYLEY
How much time do I have?

SAM
Twenty-four hours maximum. I’d recommend you to leave the country, but when have you ever taken my advice?

HAYLEY
What’s your name?

SAM
You know the rules. No names.

HAYLEY
We’re not playing by the rules, are we?

SAM
There’s a man who might know where to find your guy. His name is Liam Hunt and in the back of the file, you’ll find a list of possible places to find him.

HAYLEY
If the circumstances were different, I’d actually like to get
to know you. The real you.

SAM opens the car door and gets out of the car. She turns back to face HAYLEY.

SAM
Amanda. That’s my name.

HAYLEY
Tamara.

SAM closes the car door. HAYLEY watches SAM as she walks away.

Cut to
INT. – HAYLEY’S ARMOURY – NIGHT

JACOB and STITCH are asleep on the floor. HAYLEY walks down the stairwell and into the room. She has the file in her hands, which she places on the desk.
She walks to the computer and checks the CCTV footage of

Page 35
the house to make sure she was not followed home. HAYLEY sits at the table and opens the bag which contains MASON’S laptop. She switches it on. HAYLEY patiently waits for MASON’S laptop to finish loading up.
HAYLEY searches through the entirety of the files on the laptop. She is frustrated as to not being able to locate any files on the laptop. She sits back, unsure what her next move is to be.

Cut to
INT. – WAREHOUSE GROUND FLOOR – NIGHT

MASON is standing before several armed assassins, talking to them. They are listening intently. A photograph of HAYLEY is on a whiteboard, as well as photographs of JACOB and HAYLEY’S house.

MASON
What we are dealing with is the best of the best. You’ve read her file so you know what we’re up against. Our assignment is simple. Kill Hayley and retrieve my son. I shall warn you all now. If my son is harmed in any way whatsoever, on your heads be it. You know the score. Do not mess this up for we will not get another shot at this.

Fade to black.

Cut to
INT. – HAYLEY’S ARMOURY – MORNING

HAYLEY is asleep at the desk. MASON’S laptop is in front of her. HAYLEY suddenly wakes up. She looks around and sees that JACOB and STITCH are not inside the room. She gets to her feet.

Cut to
INT. – JACOB AND HAYLEY’S KITCHEN – MORNING

JACOB and STITCH are sitting at the table, each eating a bowl of cereal. HAYLEY walks inside the room and throws LIAM’S file onto the table.

HAYLEY
Our target’s Liam Hunt. He’s twenty-three years old and is a petty thief.

JACOB picks up LIAM’S file and reads through it.

HAYLEY (continued)

Page 36
It’s our job to bring him and question him in regards of
Mason’s location. Now, he’s not physically dangerous, but he may be likely to carry a weapon. That means the correct precautions need to be taken.

JACOB finishes reading through the file. He hands it to STITCH, who looks through it.

JACOB
How do we find him?

HAYLEY
There’s a number of places he could be. This time of day, he’s
likely to be out doing what he does best. Stealing.

JACOB
I quite like the badass side of you. It’s very sexy.

HAYLEY winks at JACOB.

STITCH
(faces HAYLEY) One question. What will I be doing while you find him?

HAYLEY
You’ll have to come with us. It’s too dangerous leaving you on your own. Do you have a problem with that?

STITCH
No. Not at all.

Cut to
EXT. – STREET – MORNING

LIAM, twenty-three, is walking slowly down the street. He observes the crowds of people that walk past him, as he walks to a set of traffic lights.
LIAM spots an ELDERLY WOMAN standing at the traffic
lights with her handbag in her hands. LIAM casually walks
towards her, unaware that HAYLEY’S car is parked across the road from him.

Cut to
INT. – HAYLEY’S CAR – MORNING

HAYLEY is sitting in the driver’s seat. JACOB is sitting in the front passenger’s seat and STITCH is sitting in the back of the car. They watch LIAM as he steals the ELDERLY WOMAN’S purse from her handbag.

Page 37
STITCH (shocked)
He just nicked that lady’s purse!

They watch LIAM as he casually walks away from the ELDERLY WOMAN. He keeps the purse close to his left trouser pocket.

HAYLEY
Let’s see where he’s going.

HAYLEY switches the engine on and drives after LIAM. She is careful to keep a reasonable distance from LIAM.

Cut to
EXT. – ALLEYWAY – MORNING

LIAM turns into the alley. He still has the ELDERLY WOMAN’S purse in his hands. He stops and opens the purse. He smiles as
he sees that the purse is full of money.
He takes the money out of the purse and puts it inside his left trouser pocket. He throws the purse away, unaware that HAYLEY’S car is parked outside the alley.

Cut to
INT. – HAYLEY’S CAR – MORNING

HAYLEY, JACOB and STITCH are sitting in the car, watching LIAM as he lights a spliff and begins smoking it. HAYLEY takes off her seatbelt.

HAYLEY
Watch and learn, boys.

HAYLEY opens the driver’s door and gets out of the car. She closes the door.

Cut to
EXT. – ALLEYWAY – MORNING

LIAM is standing in the alley, smoking a spliff. He flicks it away as he sees HAYLEY walking towards him. He smiles as he undresses HAYLEY with his eyes.

LIAM
What’s up, good-looking?

HAYLEY
Liam Hunt?

LIAM

Page 38
Yeah. Who’s asking?

HAYLEY
You’re coming with me.

LIAM
(smiles) Oh, yeah? How are you gonna make me do that, eh?
Handcuff me?

HAYLEY
I’m not the police.

LIAM
You expect me to believe that? You pigs are always on my case. I’m trying here. Seriously.

HAYLEY
Honestly, I don’t give a fuck how bad your life is. You have certain information which I’m after.

LIAM
And what would that be? Please, love. Quit wasting my time. I’m a busy guy.

HAYLEY
Yeah. Stealing from the elderly is a real killer.

LIAM smiles. He brings out a knife and holds it towards HAYLEY.

LIAM (continued)
What’re you gonna do now?

HAYLEY sighs. She punches LIAM in the face. He drops the knife on the floor. HAYLEY grabs hold of LIAM and bangs his head on the wall. He falls to the floor, unconscious.

Cut to
INT. – ABANDONED LIVING ROOM – MORNING

LIAM is sitting unconscious on a chair in the middle of the room. His hands and feet have been tied to the chair. HAYLEY is standing before LIAM, now with a pair of leather gloves on.
She also has a belt in her hands. LIAM slowly opens his eyes. He tries to move, but realizes he is tied to the chair.

LIAM (furiously)
What the hell have you done with me, you bitch?! Where am I?


Page 39
HAYLEY whips LIAM across the leg with the belt. He screams from the agony of it.

HAYLEY
I’m going to ask you a series of questions. The way you answer them will determine whether you live or die. Do you understand me?

LIAM nods helplessly. HAYLEY brings out a photograph of MASON and shows it to LIAM.

HAYLEY (continued)
Where can I find him?

LIAM
How would I know? I’ve never seen him before in my life.

HAYLEY
You’re lying.

LIAM
Believe what you want to. I know the truth.

HAYLEY whips LIAM with the belt. He screams once again.

HAYLEY
You’re making this a lot harder than what it needs to be.

LIAM is silent. HAYLEY whips LIAM with the belt.

LIAM (loudly)
Bitch!

HAYLEY whips LIAM with the belt once again. He cries.

Cut to
INT. – HAYLEY’S CAR – MORNING

The car is parked outside the abandoned house. JACOB is sitting in the front passenger’s seat and STITCH is sitting in the back of the car, in complete silence.

JACOB
You’re quiet, kid.

STITCH
Does it not bother you what she could be doing to him?

JACOB

Page 40
I do not agree with what she’s done. In fact, my only conciliation is that she is doing this for us.

STITCH stares out of the window, trying not to imagine what HAYLEY is doing to LIAM.

Cut to
INT. – ABANDONED LIVING ROOM – MORNING

LIAM is still sitting, tied to the chair. His face is bleeding
from where HAYLEY has been interrogating him and he is tearful. HAYLEY repeatedly whips LIAM with the belt. He screams from the agony.

HAYLEY (furiously)
Tell me how to find him!

LIAM
Go to hell. Bitch.

HAYLEY
If you’re not going to tell me what I need to know, I have no need to keep you alive.

HAYLEY brings out a gun. She loads it and presses it against LIAM’S right kneecap.

HAYLEY (continued)
Last chance.

LIAM is silent. HAYLEY holds her finger on the trigger.

LIAM (desperately)
All right. I’ll tell you what you need to know.

HAYLEY
Talk!

LIAM
You have no way of finding him. If he wants you, he’ll come to you. Even if you try running from him, he’ll find you.

HAYLEY aims the gun at LIAM’S stomach.

LIAM (continued)
I thought you’re letting me go.

HAYLEY
I lied.

Page 41
HAYLEY shoots LIAM twice in the stomach, killing him. HAYLEY puts the gun away.

Cut to
INT. – HAYLEY’S CAR – MORNING

JACOB and STITCH are sitting in the car, anxiously awaiting HAYLEY’S return. The driver’s door opens and HAYLEY gets in
the car. She closes the door and puts her seatbelt on. HAYLEY no longer has the leather gloves on.

JACOB
What’d you get?

HAYLEY
Nothing. He was a dead end.

STITCH
So you just killed him?

HAYLEY ignore STITCH as she switches the engine on.

Cut to
INT. – FRANCESQA’S CAR – MORNING

The car is parked further down the road from HAYLEY’S car. FRANCESQA is sitting in the driver’s seat. She watches as HAYLEY’S car drives away. FRANCESQA switches the engine on and drives after HAYLEY’S car.

Cut to
EXT. – JACOB AND HAYLEY’S FRONT GARDEN – AFTERNOON

JIMMY and REBECCA’S car is parked by the edge of the road. JIMMY and REBECCA are standing at the front door.
HAYLEY’S car pulls onto the driveway and the engine is switched off. HAYLEY, JACOB and STITCH get out of the car. They see JIMMY and REBECCA standing at the front door. HAYLEY sighs.

HAYLEY (muttering)
Great. That’s all we need.

JACOB
Now, now, dearest. Be nice.

HAYLEY, JACOB and STITCH walk to JIMMY and REBECCA.

HAYLEY & JACOB

Page 42
Hi.

JIMMY
Who’s the kid?

HAYLEY
My nephew.

STITCH
Hi. I’m Stitch.

STITCH holds his hand out to them. JIMMY shakes his hand.

REBECCA
Oh, my. Someone with manners. Now that’s hard to come by these days.

HAYLEY
So was there any reason why you came or were you just passing by?

REBECCA
We were just checking to see if everything was okay. You seemed to be acting a bit strange last night.

HAYLEY
I found out he was cheating on me.

JACOB
And I found out she was a contract killer. Who’d have guessed?

REBECCA
(smiles) Right. Anyway, we best be off.

STITCH
It was nice meeting you.

JIMMY and REBECCA walk towards their car. JIMMY gets in the driver’s seat and REBECCA gets in the front passenger’s seat. STITCH waves goodbye to them as JIMMY switches the engine on and drives away.

JACOB
Why is it when you tell the truth, no one believes you?

HAYLEY
I have no idea.

Cut to

Page 43
INT. – HAYLEY’S ARMOURY – AFTERNOON

HAYLEY walks down the stairwell and into the room. The lights automatically turn on. HAYLEY is followed closely by JACOB and STITCH.

JACOB
I don’t get it. He must’ve told you something.

HAYLEY
(faces JACOB) I told you he was a dead end. Will you just
leave it at that?

JACOB
You killed someone. If you cannot justify it, then no. I’m not going to leave it.

An alarm suddenly blares throughout the entire room.

STITCH
What’s happening?

HAYLEY hurries to the computer and looks at the CCTV footage of the house. Three vans can be seen stopping outside the front garden.

HAYLEY
They’re here for me.

HAYLEY walks to the wall and selects several guns from it.

JACOB
Hayley, who are they?

HAYLEY
People like me. When you fail to complete an assignment,
you’re automatically put on the list. The list means you’ve become a target. I’m guessing I’m pretty high up on that list.

JACOB walks to HAYLEY and kisses her on the lips.

JACOB
I love you.

HAYLEY walks to the stairwell, armed with the weapons…

Cut to
INT. – JACOB AND HAYLEY’S KITCHEN – AFTERNOON


Page 44
The back door is kicked open and HAYLEY hurries inside the room. She checks to make sure the room is empty, then walks towards the kitchen door.

Cut to
INT. – JACOB AND HAYLEY’S HALLWAY – AFTERNOON

HAYLEY walks out of the kitchen and stands still. She loads the guns. The front door is blown off its hinges. Several
armed assassins make their way inside the house.
HAYLEY opens fire on them, shooting them down. The
assassins open fire on HAYLEY, who turns and kicks the living room door open.

Cut to
INT. – JACOB AND HAYLEY’S LIVING ROOM – AFTERNOON

HAYLEY hurries inside the room and closes the door. She reloads the guns. HAYLEY pulls the settee out and crouches behind it for cover. Footsteps can be heard approaching the living room door. HAYLEY opens fire on the door, shooting down an assassin. The living room door is kicked open and the assassins open fire on HAYLEY.
HAYLEY ducks behind the settee. A stun grenade is suddenly thrown through the living room window. It goes off, temporarily blinding HAYLEY. By the time that HAYLEY’S eyesight returns, she is surrounded. MASON stands in the doorway of the room, along with ASSASSIN 1.

MASON
Don’t shoot. I want her alive.

MASON pushes his way past the assassins until he stands before HAYLEY. She keeps the guns aimed at him.

MASON (continued)
Don’t turn this into more of a massacre than it already is.

HAYLEY reluctantly lowers the guns. MASON clicks his fingers. ASSASSIN 1 removes the guns from HAYLEY.

MASON (continued)
Where is he? Where’s my son?

HAYLEY
I don’t know what you’re talking about.

MASON smiles. He punches HAYLEY in the face.


Page 45
MASON
You’re making this a lot harder than what it needs to be.

Cut to
INT. – HAYLEY’S ARMOURY – AFTERNOON

JACOB and STITCH are standing at the computer, watching the CCTV footage of the living room. They watch MASON as he pushes HAYLEY to her knees and puts a gun to her head.

STITCH
We’ve got to help her.

Cut to
INT. – JACOB AND HAYLEY’S LIVING ROOM – AFTERNOON

HAYLEY is on her knees and is surrounded by several armed assassins. MASON is standing in front of HAYLEY with a gun against her head.

MASON
My son. Tell me where to find him.

HAYLEY is silent. MASON rests his finger on the trigger.

MASON (continued)
Goodbye, Hayley.

STITCH steps inside the room.

STITCH
Dad.

They all turn to face STITCH, who steps forward.

MASON
Stitch. Let him through.

The assassins clear a path so that STITCH is able to walk to MASON.
MASON (continued)
My son.

MASON attempts to hug STITCH, but STITCH disallows it. MASON slaps STITCH across the face.
The assassins are unaware that JACOB is standing in the doorway of the room with a shotgun in his hands. JACOB attempts to shoot ASSASSIN 1, but the shotgun clicks. ASSASSIN 1 turns to face JACOB. JACOB throws the shotgun to the floor

Page 46
and puts his hands in the air.

JACOB
Don’t shoot! I surrender.

HAYLEY sighs. Her only chance of being rescued has been ruined due to JACOB and STITCH’S capture.
ASSASSIN 1 brings JACOB before HAYLEY, STITCH and MASON and pushes him to his knees.

HAYLEY (muttering)
Great job.

JACOB
At least I tried to save you.

ASSASSIN 1 puts a gun to JACOB’S head.

ASSASSIN 1
Shut up.

JACOB gulps. MASON keeps eye contact with STITCH, who struggles to show that he is scared. Police sirens can now be heard in the distance.

STITCH
I’m not afraid of you, Dad. Not anymore.

MASON
I never wanted you to be afraid of me. I just wanted what was best for you.

STITCH, unable to contain his emotions, breaks down in tears before MASON.

STITCH (tearfully)
Ever since Mum died, you’ve been treating me as if I’m nothing and it’s not fair!

MASON
Don’t you dare bring your Mother into this!

STITCH
It’s true! You’ve changed. I’m ashamed to call you family.
(shows the scarred wrists to MASON) That’s what living with you has made like and I hate it! I hate you!

MASON
Why didn’t you ever tell me you felt like this, eh?

Page 47
STITCH
Because you wouldn’t listen. You never listened to me.

ASSASSIN 1
Sir. We need to leave now.

MASON
(faces the assassins) Withdraw!

The assassins hurry out of the room. MASON faces HAYLEY and JACOB who gets to their feet.

MASON (continued)
This isn’t over.

MASON puts the gun away. He looks to STITCH one final time and walks out of the room. STITCH wipes the tears away from his eyes as JACOB rests his hand on his shoulder.

JACOB
You did good, kid.

HAYLEY
We need to leave.

HAYLEY walks towards the living room door. JACOB and STITCH walk after her.

Cut to
EXT. – JACOB AND HAYLEY’S FRONT GARDEN – AFTERNOON

HAYLEY walks out of the house. She is followed closely by JACOB and STITCH. The police sirens can be heard rapidly approaching the house. HAYLEY, JACOB and STITCH walk towards HAYLEY’S car, which is parked on the driveway.

Cut to
INT. – HAYLEY’S CAR – AFTERNOON

HAYLEY is driving the car down the street. JACOB is sitting in the front passenger’s seat and STITCH is sitting in the back of the car. STITCH is staring out of the window.
HAYLEY looks back to STITCH, concerned about his state of mind. She pulls the car to the edge of the road and switches the engine off.

HAYLEY
We’ll stop here for a drink.


Page 48
HAYLEY opens the dashboard and brings out her purse.

Cut to
EXT. – OUTSIDE THE CAFÉ – AFTERNOON

The car doors open and HAYLEY, JACOB and STITCH get out of the car. They close the car doors and stand in silence. HAYLEY opens her purse and brings out four one pound coins. She hands them to STITCH.

HAYLEY
Why don’t you give some of your friends a call?

STITCH
What are you guys gonna do?

HAYLEY
We’ll get a drink. Can I get you one?

STITCH
No, thanks. How long can I have?

HAYLEY
(looks to JACOB) Twenty minutes?

JACOB shrugs. HAYLEY turns back to STITCH.

HAYLEY (continued)
We’ll meet back here.

HAYLEY and JACOB walk inside the café. STITCH turns and walks towards the public phonebox, which is further down the street.

Cut to
INT. – CAFÉ – AFTERNOON

HAYLEY and JACOB are sitting at a table in complete silence. They each have a half-empty mug of tea in front of them, which
they are slowly drinking.

JACOB
Where do we go from here?

HAYLEY
We find a place to stay. Hopefully we’ll have enough time to
figure what move to take before we’re found again.

JACOB sighs.


Page 49
HAYLEY (continued)
I’m trying, Jacob. What more can you honestly expect me to do?

JACOB
It’s your fault we’re having to live like this.

HAYLEY
Thank you, Jacob. Thanks a lot.

HAYLEY picks up the mug of tea and throws the contents of it
over JACOB. He gasps from the shock of it.

Cut to
INT. – PUBLIC PHONEBOX – AFTERNOON

STITCH is standing inside the public phonebox. He types in MEGAN’S mobile number and picks up the phone as the call is made to MEGAN. She answers the phone.

MEGAN
Hello?

STITCH
Hey, Megan. It’s me.

MEGAN
Stitch, where the hell have you been?! I’ve been trying to get hold of you for ages.

STITCH
I’m sorry. Things have been really hectic my end.

Cut to
EXT. – CAFÉ – AFTERNOON

HAYLEY is standing with her back against the wall. JACOB storms out of the café after attempting to wash the tea off his shirt and out of his hair. He marches toward HAYLEY.

JACOB (furiously)
If you want any hope of saving this marriage, you need to start treating me like your husband. Not your human punch bag.

HAYLEY
No. You need to understand that you’re not God’s gift to the world. Truth is, you’re nothing.

JACOB
You’re nothing! What you do. How can you even attempt to live

Page 50
like that?

In a fit of rage, HAYLEY kneels JACOB in the privates. He screams and collapses to the floor, holding onto his crotch.

JACOB (defensively)
This is what I’m talking about! You can’t keep doing this to me!

HAYLEY
I’ve been wanting to stop for years. Ever since the night I met you. For the first time in my life, I felt complete. But
my job. It’s not like yours. You can’t just hand in your resignation and be done with it. If I’d left, I’d be dead.

JACOB
I’m sorry. I didn’t understand.

HAYLEY holds out her hand to JACOB. JACOB takes hold of HAYLEY’S hand and she brings him to his feet.

HAYLEY
You’re right. I shouldn’t keep treating you the way I have.

Cut to
INT. – PUBLIC PHONEBOX – AFTERNOON

STITCH is still standing inside the public phonebox, talking to MEGAN on the phone. He is visibly bored from listening to MEGAN’S complaining.

MEGAN
It’s not too unreasonable to know what’s going on. I have a
life too. You need to…

STITCH sighs and puts the phone down. STITCH dials MEGAN’S phone number and she answers the phone.

STITCH
Are you finished yet?

MEGAN hangs up on STITCH. He gasps.

STITCH (muttering)
I don’t believe it.

STITCH redials MEGAN’S phone number. She answers the phone.

STITCH (continued)

Page 51
I’m sorry, Megan. I shouldn’t have hung up on you. I was out of order.

MEGAN
I accept your apology.

STITCH
Can we still be friends?

MEGAN
That depends. Are you going to stop acting like this?

STITCH
Uh-huh.

MEGAN
Welcome back, Stitch.

STITCH smiles. Silence.

MEGAN (continued)
What’s wrong?

STITCH
Nothing. I’m fine. You don’t need to worry about me.

Cut to
EXT. – OUTSIDE THE CAFÉ – AFTERNOON

HAYLEY and JACOB are standing together, quietly talking to each other. They are waiting for STITCH to finish on the phone. STITCH walks out of the public phonebox and walks to HAYLEY and JACOB.

HAYLEY
Go wait for me in the car.

JACOB walks towards HAYLEY’S car, which is parked by the edge of the road. HAYLEY faces STITCH.

HAYLEY (continued)
Who were you on the phone to?

STITCH
A mate at school. We’ve been rehearsing for a play.

HAYLEY
So you’re a performer?


Page 52
STITCH
I take A-level Drama as well as other things.

HAYLEY
Tell me about the play.

STITCH
It was written by Megan. It’s about these two teens that really can’t stand each other and are one day forced to be paired together. It’s a sort of musical. (hesitates) I suppose
I won’t be able to do it no more.

HAYLEY is silent. STITCH walks towards HAYLEY’S car.

HAYLEY
Stitch.

STITCH turns back to face HAYLEY.

STITCH
Yeah?

HAYLEY
Thank you. For saving my life back at the house.

STITCH
(smiles) You looked like you needed my help.

HAYLEY
You’re a good person. I wish I was more like you.

STITCH
You are. Deep down.

Cut to
INT. – EDWIN’S OFFICE – AFTERNOON

EDWIN is sitting at the desk, talking to MASON, who is sitting in front of him. MASON is listening intently.

EDWIN
I gave you my men and my resources and yet you failed.

MASON
The situation grew out of hand. I was forced to retreat. If I may?

EDWIN
Go ahead.

Page 53
MASON
I would like to request more men. She will not get away from me again. I can promise you that.

EDWIN
I’m afraid there are no second chances with us. (smiles) Company policy.

MASON
(slams his fists on the table) No! I’m not buying it! This is because of your involvement.

EDWIN
We’re done here.

MASON shakes his head disapprovingly. He gets to his feet and walks towards the office door. He opens it and walks out of the room.

Cut to
INT. – HAYLEY’S CAR – AFTERNOON

HAYLEY is driving the car down the street. JACOB is sitting in the front passenger’s seat and STITCH is sitting in the back of the car. They are sitting in complete silence.

STITCH
Where are we going?

HAYLEY
I don’t know. We’ve lost the safe house. There’s nowhere else to…

JACOB
(interrupts HAYLEY) I know a place.

HAYLEY realises that JACOB is suggesting they stay at
FRANCESQA’S house. HAYLEY slams on the breaks, bringing the car to a halt.

HAYLEY (furiously)
There is no way we’re staying with her.

STITCH casually brings out his iPod. He puts the headphones in his ears and listens to music.

JACOB
Where else can we go? All the places you’ve taken us to, someone ends up dead. Look. I know this will be hard for you,

Page 54
but please. Give it a shot.

HAYLEY
How do you know we can trust her?

JACOB
If she tries to kill me, I give you permission to kill her.
Other than that, she stays alive. Deal?

Cut to
INT. – FRANCESQA’S LIVING ROOM – AFTERNOON

HAYLEY, JACOB and STITCH are sitting on the settee, in complete silence. FRANCESQA walks inside the room and sits on
the chair opposite HAYLEY, JACOB and STITCH.

FRANCESQA
I have to admit, I was surprised when I received your call. What happened to the house?

HAYLEY
Got broken into. Everything wrecked.

FRANCESQA
That must really suck. I know how much time you’ve put into everything. (faces JACOB) Did the thieves throw tea at you?

JACOB
Yeah. You could say that.

FRANCESQA
Why don’t you have a shower?

HAYLEY kisses JACOB on the lips, who responds. HAYLEY draws out the duration of the kiss in an attempt to make FRANCESQA jealous. STITCH rolls his eyes. JACOB pulls away from HAYLEY.

JACOB (whispering)
Be nice.

JACOB gets to his feet and walks out of the room. There is an
awkward silence between HAYLEY, STITCH and FRANCESQA.

STITCH
So…

The silence continues.

STITCH (continued)

Page 55
I’m Stitch.

FRANCESQA
Hey, Stitch. I’m Francesqa.

HAYLEY
(interrupts FRANCESQA) A filthy, husband stealing whore.

FRANCESQA blushes slightly.

HAYLEY (continued)
What’s the matter? Cat got your tongue?

FRANCESQA
I’m not asking you to like me, Hayley, but can we at least get on for Jacob’s sake?

HAYLEY
For Jacob’s sake. How about apologising?

STITCH awkwardly clears his throat.

FRANCESQA
I’m sorry, Hayley. I’m sorry that you were such a bad wife to
Jacob that you drove him away.

Cut to
INT. – FRANCESQA’S SPAIR BEDROOM – EVENING

The bedroom door is ajar. JACOB is standing next to the bed, drying his hair with a towel. He is now wearing casual clothes. FRANCESQA steps inside the room. She closes the bedroom door. JACOB turns to face her.

JACOB
Thank you for agreeing to have us. I know how awkward it must be for you.

FRANCESQA
I just don’t understand how you can be with her. What’s keeping you from leaving? Be with me. I can offer you the
stability of a normal relationship.

FRANCESQA goes to kiss JACOB, but he moves out of the way.

FRANCESQA (continued)
What’re you afraid of?

JACOB kisses FRANCESQA on the lips. She responds.

Page 56
Cut to
INT. – FRANCESQA’S DINING ROOM – EVENING

HAYLEY is standing at the table with the file out in front of her. The list of all government funded killings are visible. STITCH walks inside the room. He stands with HAYLEY, who stares at the list.

STITCH
What have you got there?

HAYLEY
A list of all government funded killings in the past fifteen months.

STITCH
(looks at the list) Whoa. Corrupt, much?

HAYLEY
That’s exactly what I was thinking.

STITCH looks through the list of victims.

STITCH
How many of these have you killed?

HAYLEY
Too many.

STITCH
Why were they killed?

HAYLEY
Protesting? Being part of rival parties? Who knows? None of this makes sense. (closes the file) It’s time I paid my boss a visit.

Cut to
INT. – FRANCESQA’S KITCHEN – EVENING

JACOB and FRANCESQA are standing with their backs against the worktops, laughing and joking with each other. They each have a can of beer in their hands, which they are drinking from. HAYLEY stands in the doorway of the room. JACOB and FRANCESQA turn to face her.

JACOB
Hey, sweetheart.


Page 57
HAYLEY
I’m going out for a few hours. Got some work that needs taking care of. Don’t wait up for me.

HAYLEY turns and walks out of the room. The front door can be heard closing as HAYLEY leaves the house.

FRANCESQA
(whispers) Work at this time of day?

JACOB
(takes a mouthful of beer) If I told you what she does, you’d never believe me.

FRANCESQA
Try me.

JACOB
(leans forward) She kills people.

FRANCESQA
(gasps) No way. My uncle. That’s what he does too.

JACOB
Seriously?

FRANCESQA
No, Jacob. He’s a plumber.

Cut to
INT. – FRANCESQA’S HALLWAY – EVENING

STITCH is standing in the doorway of the kitchen, watching
JACOB and FRANCESQA as they talk with each other. STITCH turns and walks across the hallway. He walks up the stairs.

Cut to
INT. – FRANCESQA’S BEDROOM – EVENING

The bedroom door opens and STITCH steps inside the room. He closes the door. He looks around the room, suspicious that FRANCESQA is not really whom she says she is. STITCH opens the bedside cabinet. There is a photograph album inside it.
He brings it out and sits on the bed as he looks through it. It is filled with photographs of HAYLEY and JACOB going through their daily routine. The photographs towards the end of the album have HAYLEY, JACOB and STITCH talking to JIMMY and REBECCA outside HAYLEY and JACOB’S house…


Page 58
Cut to
INT. – EDWIN’S OFFICE – EVENING

EDWIN is sitting at the desk. He looks at the clock on the wall and sees that it is late. EDWIN brings out his briefcase from underneath the desk and gets to his feet.

Cut to
INT. – OUTSIDE THE ORGANISATION HQ – EVENING

EDWIN walks out of the building with his briefcase in his hand. He walks towards his car, which is parked by the edge of the road. EDWIN brings out his car keys and uses them to unlock the car. He opens the driver’s door…

Cut to
INT. – EDWIN’S CAR – EVENING

EDWIN gets in the driver’s seat, unaware that HAYLEY is sitting in the back of the car. EDWIN places his briefcase in the front passenger’s seat and closes the door. HAYLEY brings out a gun and puts it against the back of EDWIN’S head.

EDWIN
Are you here to kill me?

HAYLEY
If I was here to kill you, you’d already be dead.

EDWIN
Then what do I owe this visit to?

HAYLEY
You’re working with the man who I was assigned to kill. Why?

EDWIN
We have an understanding.

HAYLEY
Whatever he’s helping you with, he’s not. He’s setting you up. He has no intention to work with you.

EDWIN
We’ll see.

HAYLEY
I want out.

EDWIN

Page 59
You know the rules, Hayley. Once you’re in, there’s no getting out.

HAYLEY
Help me. After all we’ve been through, do it for me.

EDWIN picks up the briefcase and hands it to HAYLEY.

EDWIN
I’m sure you’ll find something of interest in there.

HAYLEY
Thank you.

HAYLEY puts the gun away and gets out of the car. She walks away. EDWIN switches the engine on. The car suddenly explodes, killing EDWIN instantly.

Cut to
INT. – MASON’S CAR – EVENING

MASON’S car is parked across the road from the organisation’s HQ. MASON is sitting in the driver’s seat and has just seen
EDWIN’S car explode. He smiles.

Fade Out
























To Be Continued…

Part 2

Fade In

Eighteen Months Ago

INT. – BOARDROOM – EVENING

EDWIN is sitting at the table, reading through ANDY’S file, which is before him. He has a pair of glasses on. The boardroom door opens and EDWIN closes the file. ANDY, late forties, walks inside the room with a file in his hands. He closes the door.

EDWIN
Prime Minister.

ANDY
Forgive me for my bluntness, but I would like to get straight to the point.

EDWIN
(smiles) Of course. Take a seat.

ANDY places the file on top of the table as he sits down.

EDWIN (continued)
What appears to be the problem?

ANDY passes the file to EDWIN, who briefly looks inside it. He realizes that it contains a list of all the assassins contracted to EDWIN. EDWIN closes the file.

ANDY
Do not ask me how I got hold of this. Instead, you should be wondering what I am going to do about it. (pauses) Now, I am willing to let this go, but on one condition.

EDWIN
And what might that be?

ANDY
There is a certain group of people causing problems for myself and my fellow cabinet members. I would appreciate it if the appropriate measures were to be taken. No questions asked.

EDWIN
I see. It’s an interesting case you make, Prime Minister, but
what if I refuse?

Page 1
ANDY
The list will be made public. You and all the people listed will face criminal charges. (pauses) These are difficult times. To be victorious, you have to bend the rules.

EDWIN
I will need time to make my decision.

ANDY
Twenty-four hours should suffice.

ANDY takes hold of the file and gets to his feet.

ANDY (continued)
I’ll be in touch.

ANDY turns and walks towards the door. He opens it and walks out of the room, closing the door. EDWIN sighs.

Opening Titles

Present Day

Cut to
INT. – FRANCESQA’S DINING ROOM – NIGHT

HAYLEY is sitting at the table with the contents of EDWIN’S briefcase in front of her.
A loaded laptop is also on the table. HAYLEY looks through the files and comes across a disk. She puts it inside the laptop and a video diary made by EDWIN plays.

EDWIN
This afternoon, I attended a meeting with the current prime minister, Andy Smith. He stated that he had obtained a list of all my associates and that he will release the list to the
authorities if his demands were not met. He wants the people working against him, whoever they are, to be dealt with at my discretion. I have a recording of this meeting. It can be found…

HAYLEY is distracted by STITCH walking inside the room. She closes the laptop lid.

HAYLEY
You should be asleep.

STITCH speaks quietly to avoid FRANCESQA hearing him.


Page 2
STITCH
You can’t trust Francesqa. After you left, I went in her room and I found a photo album. It had photos of you and Jacob. Even I was in it.

HAYLEY
How certain of this are you?

STITCH
I saw it.

HAYLEY gets to her feet. She brings out a gun as she walks towards the dining room door. STITCH walks after her.

Cut to
INT. – FRANCESQA’S LIVING ROOM – NIGHT

JACOB and FRANCESQA are sitting on the settee, watching the television. HAYLEY bursts inside the room with the gun in her hands. STITCH walks inside the room as JACOB and FRANCESQA get to their feet. HAYLEY aims the gun at FRANCESQA’S head.

HAYLEY
Who do you work for?

FRANCESQA (nervously)
I work with Jacob. You know that.

JACOB
Hayley, put the gun down.

HAYLEY
Who are you really working for?

FRANCESQA
(stutters) I…I don’t know what you’re talking about. Jacob, get her to stop. Please.

HAYLEY
Show them, Stitch.

STITCH walks out of the room.

JACOB
Show us what? What’s he getting?

HAYLEY
Photos. Photos of us. (looks to FRANCESQA) She’s been following us.

Page 3
JACOB
(faces FRANCESQA) Is it true?

FRANCESQA
Of course not! Do you honestly think I’d do such a thing?

HAYLEY
Looks like I might get to kill you after all.

Cut to
INT. – FRANCESQA’S BEDROOM – NIGHT

The bedroom door opens and STITCH walks inside the room. He switches the light on and walks to the bedside cabinet. He opens it in search of the photograph album. It is nowhere to be seen. STITCH runs his hand through his hair…

Cut to
INT. – FRANCESQA’S LIVING ROOM – NIGHT

HAYLEY is standing in the middle of the room with her gun
aimed at FRANCESQA’S head. JACOB is standing beside HAYLEY,
anxiously awaiting STITCH’S return. STITCH walks inside the room, empty handed. They all face him.

HAYLEY
Well?

STITCH
They’re gone.

FRANCESQA
My point exactly. (faces JACOB) Do you believe me now?

STITCH
I saw the photos with my own eyes.

HAYLEY reluctantly lowers the gun.

FRANCESQA
I let you into my home and this is how you repay me.

FRANCESQA walks out of the room. JACOB looks to HAYLEY, who puts the gun away. He shakes his head disapprovingly and also walks out of the room.

STITCH
(faces HAYLEY) I know what I saw.


Page 4
HAYLEY
I know you did.

Fade to black.

Cut to
INT. – FRANCESQA’S DINING ROOM – MORNING

JACOB and STITCH are sitting at the table, in complete silence. They each have a bowl of cereal in front of them, which they are eating.
The television is quietly playing in the background. The television remote is in front of JACOB. HAYLEY walks inside the room.

HAYLEY
There’s a recording.

JACOB
Come again?

HAYLEY
There’s a recording of the prime minister blackmailing my boss.

A NEWS REPORTER appears on the television screen.

NEWS REPORTER
Police are currently searching for Hayley Knight in connection
with the murder of Edwin Peters, who was killed by a car bomb.

An image of EDWIN is shown on the television screen.

HAYLEY
(surprised) That’s my boss.

NEWS REPORTER
Police also believe Hayley was involved in a string of unsolved crimes dating back from…

HAYLEY picks up the television remote and switches the television off.

JACOB
(faces HAYLEY) Care to explain what that was about?

HAYLEY
I didn’t kill him. I’ve been set up.


Page 5
STITCH
What will we do?

Police sirens can be heard in the background. They realize that FRANCESQA has seen the news and reported HAYLEY to the police.

JACOB
(sighs) Francesqa.

HAYLEY
(gets to her feet) Let’s go.

JACOB and STITCH get to their feet. HAYLEY brings out a gun and walks towards the dining room door. JACOB and STITCH walk after her.

Cut to
INT. – FRANCESQA’S HALLWAY – MORNING

HAYLEY walks out of the dining room with the gun in her hands.
She is followed closely by JACOB and STITCH. They make their way towards the front door. FRANCESQA stands at the top of the stairs with a gun in her hands.

FRANCESQA (loudly)
Freeze! Don’t move!

HAYLEY turns and opens fire on FRANCESQA, who stands with her back against the banister to avoid being shot by HAYLEY.

HAYLEY
Go now!

STITCH quickly opens the front door and runs out of the house. JACOB also runs out of the house. HAYLEY turns and runs out of the house. She closes the front door.

Cut to
EXT. – FRANCESQA’S FRONT GARDEN – MORNING

The police sirens can be heard rapidly approaching the house. HAYLEY, JACOB and STITCH run across the front garden, towards HAYLEY’S car, which is parked by the edge of the road. JACOB gets in the front passenger’s seat of the car and STITCH gets in the back of the car.
HAYLEY shoots the back wheels of FRANCESQA’S car, which is parked on the driveway. JACOB opens the driver’s door.


Page 6
JACOB
Hayley, come on.

The front door opens and FRANCESQA runs out of the house with the gun in her hands. She opens fire on HAYLEY, who turns and gets in the car.

Cut to
INT. – HAYLEY’S CAR – MORNING

HAYLEY closes the driver’s door and switches the engine on. FRANCESQA shoots at the car. HAYLEY drives away. STITCH looks out of the back window. He looks at FRANCESQA until she can no longer be seen. He turns back to face the front.

STITCH
I bloody told you she was a baddie!

JACOB
All right. No need to brag.

Cut to
EXT. – FRANCESQA’S FRONT GARDEN – MORNING

FRANCESQA is standing on the grass with her gun in her hands.
She puts it away. FRANCESQA looks to her car and sees that the two back wheels are deflated. She sighs.

Cut to
INT. – HAYLEY’S CAR – MORNING

HAYLEY is driving the car towards EDWIN’S manor. JACOB is sitting in the front passenger’s seat and STITCH is sitting in
the back. STITCH looks out of the window and is overwhelmed by the size of the manor.

STITCH
Whoa.

Cut to
EXT. – THE FRONT OF EDWIN’S MANOR – MORNING

HAYLEY’S car stops at the front of the manor. The car doors open and HAYLEY, JACOB and STITCH get out of the car. They close the doors. HAYLEY walks towards the front door. JACOB and STITCH walks after her.

HAYLEY
I was trained here.

Page 7
They reach the front door and see that it is ajar. HAYLEY brings out a gun and cautiously pushes the front door open.

Cut to
INT. – EDWIN’S HALLWAY – MORNING

HAYLEY, JACOB and STITCH walk inside the manor. HAYLEY checks to make sure that the coast is clear. Satisfied, she proceeds along the hallway. JACOB and STITCH walk alongside her.

JACOB (loudly)
Hello!

HAYLEY stops and turns to face JACOB, enraged.

HAYLEY
What the hell do you think you’re playing at?!

JACOB
I was just making sure we were alone.

HAYLEY sighs. She turns back around and continues to walk down the hallway. JACOB walks after her. STITCH looks to his right and sees EDWIN’S study. He walks towards it…

Cut to
INT. – EDWIN’S STUDY – MORNING

STITCH walks inside the room. There are a large number of paintings on the wall. STITCH looks at them in admiration. He is unaware that HENRY, late sixties, is standing behind him. STITCH turns around and screams as he sees HENRY.

HENRY
Can I help you?

STITCH stutters. HAYLEY and JACOB walk inside the room. HAYLEY has the gun in her hands, which she puts away.

HAYLEY
It’s okay, Henry. He’s with me.

HENRY
(faces HAYLEY) Hayley.

HAYLEY
It’s been a long time.

HENRY

Page 8
It certainly has.

HAYLEY
This is my husband, Jacob.

JACOB
Hi.

HAYLEY
And this is Stitch.

STITCH puts his hand up to HENRY.

HENRY
It’s a pleasure to meet you all. (pauses) As much as I’d like to think you came to visit me, there’s something you’re after. Am I correct?

HAYLEY
You don’t happen to know anything about a recording, do you?

HENRY
Funnily enough, I do. Follow me.

HENRY walks out of the room. HAYLEY, JACOB and STITCH walk
after him.

Cut to
INT. – EDWIN’S BEDROOM – MORNING

HENRY walks inside the room. He is followed closely by HAYLEY, JACOB and STITCH, who look around the room. All of EDWIN’S possessions are neatly organized. HENRY stops and faces them.

HENRY
I saw on the news that Edwin was killed. Is what they’re
saying true? Did you kill him?

HAYLEY
No. I was set up.

HENRY
I believe you.

HENRY walks to a painting on the wall. It takes it off the wall, revealing a safe in the wall.
HENRY types in the combination and the safe opens. He sees that that the safe is empty.


Page 9
HENRY (continued)
It’s gone. The recording. It’s not there.

HAYLEY stands with HENRY. She also sees that the safe is empty.

HAYLEY
Where could it have gone?

HENRY
I don’t know.

JACOB
Maybe he put it in a safety deposit box.

HENRY
No.

HAYLEY
(faces HENRY) Think, Henry. There must be somewhere.

STITCH looks out of the window and sees two vans stop at the front of the manor.

STITCH
Uh, guys.

HAYLEY, JACOB and HENRY stand with STITCH and look out of the window. They see several armed men get out of the vans.

HENRY
Friends of yours?

HAYLEY
No. (faces HENRY) Do you have any weapons?

HENRY
Come with me.

Cut to
INT. – EDWIN’S ARMOURY – MORNING

The door opens and HENRY walks inside the room. He is followed
closely by HAYLEY, JACOB and STITCH. HAYLEY closes the door. The entire wall is covered in various weapons.

HAYLEY
Grab a weapon.


Page 10
HAYLEY, JACOB and STITCH put on a bulletproof vest. HAYLEY and JACOB begin arming their selves. STITCH takes a shotgun off the wall and loads it. HAYLEY removes the shotgun from STITCH.

HAYLEY (continued)
Something smaller.

STITCH sighs and takes a pistol off the wall.

HENRY
Will you be okay from here?

HAYLEY
Yes. Take Stitch with you. We’ll meet you when it’s over.

HENRY nods to HAYLEY. STITCH and HENRY run out of the door at the back of the room. The door is kicked shut. HAYLEY faces JACOB, who loads his gun.

HAYLEY (continued)
Ready?

JACOB
Let’s do this.

Cut to
INT. – EDWIN’S COMBAT TRAINING ROOM – MORNING

The door opens and STITCH and HENRY make their way inside the room. STITCH has the gun in his hands. HENRY closes the door. STITCH sees a set of swords on the wall.
He smiles and walks towards them. HENRY walks alongside STITCH, unaware that the door opens and THUG walks inside the room. STITCH turns around and sees THUG standing inside the room. He aims the gun at THUG.

STITCH
Don’t move.

THUG chuckles as he walks towards STITCH and HENRY. THUG snatches the gun from STITCH and shoots him in the stomach. STITCH groans and drops to his knees. THUG hits HENRY round
the head with the gun. HENRY drops to the floor, unconscious.
THUG throws the gun on the floor, then grabs hold of STITCH and throws him across the room.
STITCH lays on the floor, moaning. THUG takes a sword from off the wall and walks towards STITCH. THUG repeatedly tries to stab STITCH with the sword, but STITCH rolls out of the way. He punches THUG in the privates. THUG groans and

Page 11
drops to his knees, letting go of the sword. STITCH gets to his feet and punches THUG in the face. The punch hurts STITCH more than it did with THUG.

STITCH
(shakes his fist) Ow!

THUG gets to his feet. STITCH punches THUG in the stomach. Once again, he is unaffected by the blow.

STITCH (continued)
What are you?

THUG grabs hold of STITCH and throws him across the room. He lands next to the gun. STITCH picks up the gun as THUG walks towards him. He shoots THUG in the stomach. THUG is unaffected by the bullet. STITCH repeatedly shoots THUG in the stomach. THUG falls to the floor, dead.
STITCH drops the gun on the floor, in shock. He sits with his back against the wall and gently rocks himself. HAYLEY and JACOB run inside the room. They see that STITCH has killed THUG and is in shock. HAYLEY crouches before STITCH.

HAYLEY
Stitch.

STITCH is unresponsive to HAYLEY.

HAYLEY (continued)
Stitch, look at me. Stitch.

STITCH
(faces HAYLEY) I killed him. I didn’t want to. But he would’ve killed me.

HAYLEY
You had no choice.

STITCH
I’m a murderer.

HAYLEY
No. (pulls STITCH in for a hug) You had no choice. You didn’t.

STITCH keeps eye contact on THUG’S body. HENRY moans as he slowly regains consciousness.

Cut to
INT. – EDWIN’S DINING ROOM – AFTERNOON

Page 12
HAYLEY and JACOB are sitting at the table in complete silence. They each have a half-empty mug of tea in front of them. STITCH stands in the doorway of the room.

STITCH
I’m going for a shower.

STITCH walks out of the room.

JACOB (quietly)
Will he be all right?

HAYLEY
Sooner or later. He should never have needed to do what he did today.

JACOB
And who’s fault is it?

HAYLEY (reluctantly)
Mine.

JACOB
You’re so caught up in looking for an answer that innocent people are getting hurt. How long will it take you to realize you’re fighting a losing battle?

Cut to
INT. – EDWIN’S BATHROOM – AFTERNOON

STITCH is standing in the shower, letting the water run down his body. He looks at his hands and remembers back to shooting THUG. He breaks down in tears…

Cut to
INT. – EDWIN’S SPARE BEDROOM – AFTERNOON

STITCH is standing in the room, topless. His hair is damp having just got out of the shower. He looks around the room and sees a photograph of TAMARA, sixteen, standing with EDWIN, late twenties, on the windowsill.
He picks it up, unaware that HAYLEY is standing in the doorway of the room. HAYLEY sees that STITCH’S back is covered in scars.

HAYLEY
How are you feeling?

STITCH

Page 13
(faces HAYLEY) Better now. Thanks. (shows the photograph to HAYLEY) Is this you?

HAYLEY
Yes. That was taken a while after Edwin took me under his wing. He taught me everything I know.

STITCH
What’s your name? Your real name?

HAYLEY
Tamara.

STITCH places the photograph back on the windowsill.

STITCH
Your parents. Do you still see them?

HAYLEY
Not since I left. I have sometimes questioned what it would be like to see them again, but…

STITCH
Maybe. When it’s over.

HAYLEY
That’s what I came to talk to you about. (hesitates) I’m sorry for what I put you through and for that, I’ve decided to stop fighting. I managed to get last minute tickets for us to leave the country.

STITCH
You’re doing all this for me?

HAYLEY
I know it’s going to take time, but it’s a chance of starting again. It’s what you want, isn’t it?

Cut to
INT. – EDWIN’S HALLWAY – MORNING

JACOB and HENRY are standing at the front door. HAYLEY and STITCH walk towards JACOB and HENRY and stop before them. STITCH is now fully clothed.

HAYLEY
Have you got the tickets?

HENRY brings out three flight tickets from his jacket and

Page 14
hands them to HAYLEY, who looks at them.

HENRY
Three one way tickets to Majorca, as per requested.

HAYLEY
Thank you, Henry. For all that you’ve done.

HENRY
That’s not a problem. Just make sure you’re making the right choice.

HAYLEY opens the front door and walks out of the manor.

JACOB
Cheers, buddy.

JACOB walks out of the manor.

STITCH
Bye, Henry.

HENRY
Take care.

STITCH walks out of the manor. HENRY watches HAYLEY, JACOB and STITCH as they get inside HAYLEY’S car.

Cut to
INT. – AIRPORT TERMINAL – AFTERNOON

HAYLEY, JACOB and STITCH walk casually inside the airport. They watch various travelers as they make their ways to their check-in desks. HAYLEY turns to face JACOB and STITCH.

HAYLEY
Check-in doesn’t open for another half an hour, so we’ve got time to kill.

STITCH
Can I have some money for the shop?

HAYLEY brings out her purse. She opens it and takes out two twenty pound notes. She hands them to STITCH.

STITCH (continued)
Score.

STITCH walks away as HAYLEY puts her purse away.

Page 15
JACOB
I’ll get the drinks.

Cut to
INT. – AIRPORT BOOKSTORE – AFTERNOON

STITCH is standing inside the shop, browsing through the music magazines. He then walks to the sunglasses rack and tries on a few pairs of sunglasses.
The last pair of sunglasses STITCH tries on are the ones he is most comfortable wearing. He turns around and sees a YOUNG CHILD standing before him.

STITCH
How’d I look?

YOUNG CHILD bursts into tears. ANGRY MOTHER takes YOUNG CHILD
away from STITCH, who blushes.

Cut to
INT. – AIRPORT TERMINAL – AFTERNOON

HAYLEY and JACOB are sitting on a bench, quietly talking to each other. They each have a cup of tea in their hands, which they are drinking from.

HAYLEY
I’m sorry it had to come to this. I’m like a curse. Nothing’s ever right with me.

JACOB
You’re the only one to stick by me and I love you for that. (pauses) Mind you, I’m still waiting for someone who hasn’t tried killing me.

HAYLEY
You’ll be waiting a long time, dear.

JACOB
That’s what I can’t understand. Why does everyone want me dead? What’s so important about me?

HAYLEY
I don’t know. You’re a strange one.

They each take a mouthful of tea. STITCH sits beside them. He has a pair of sunglasses on. JACOB faces STITCH.

JACOB

Page 16
The hell?

STITCH
The shades are to hide my identity. We’re on the run. I gotta play the part convincingly. (lowers the sunglasses) You feeling me, brother?

WOMAN 1 walks past HAYLEY, JACOB and STITCH. She turns and looks back at HAYLEY suspiciously, recognizing her from the news. WOMAN 1 carries on walking. HAYLEY is aware that something is not right.

JACOB
(faces HAYLEY) What’s wrong?

HAYLEY
Something’s not right. (mutters) How did they find us here?

HAYLEY and JACOB place their cups on the floor. STITCH takes the sunglasses off. HAYLEY suddenly spots several security guards advancing towards them.

HAYLEY (continued)
We need to leave.

HAYLEY, JACOB and STITCH get to their feet. HAYLEY brings out a gun and fires it into the air. There are screams of terror from frightened travelers.

HAYLEY (loudly)
Nobody move!

HAYLEY keeps the gun aimed on the security guards, who are careful to keep their distance from them. JACOB and STITCH run out of the airport. HAYLEY walks backwards towards the entrance of the airport.

Cut to
EXT. – AIRPORT DROP-OFF POINT – AFTERNOON

HAYLEY walks out of the airport and puts the gun away. She is separated from JACOB and STITCH, who are lost in the crowd of terrified travelers. JACOB and STITCH run in different directions to each other. HAYLEY runs into the road. Several
police cars stop around HAYLEY.
Armed police officers get out of the police officers and surround HAYLEY. She has no choice but to surrender. HAYLEY gets on her knees and puts her hands behind her head. She is handcuffed. FRANCESQA pushes her way past the police officers

Page 17
and stands before HAYLEY.

FRANCESQA
I’ll take it from here. (faces HAYLEY) Bet you weren’t expecting to see me so soon…

Cut to
INT. – EDWIN’S DINING ROOM – AFTERNOON

HENRY is sitting at the table. He pours himself a glass of whiskey and takes a mouthful of it. Footsteps can be heard approaching the room. MASON walks inside the room with a gun in his hands. HENRY smiles.

HENRY
You took your time, mate.

MASON loads the gun.

HENRY (continued)
And so it’s time.

MASON
I’m just tying up the loose ends.

HENRY
Well hurry up and get it over with.

MASON aims the gun at HENRY’S stomach. He shoots HENRY twice, killing him.

Cut to
EXT. – JACOB AND HAYLEY’S FRONT GARDEN – AFTERNOON

JACOB is walking casually down the street, approaching the house. He sees that the police has cordoned off the house.
JACOB carries on walking down the street, hoping that the police officers are unable to identify him.

Cut to
INT. – JIMMY AND REBECCA’S HALLWAY – AFTERNOON

There is a knock on the front door. JIMMY walks out of the
living room. He walks across the hallway, towards the front door. He opens the front door and sees JACOB standing in the doorway of the house.

JIMMY
Jacob.

Page 18
JACOB
Hey, mate. Mind if I come in?

Cut to
INT. – JIMMY AND REBECCA’S LIVING ROOM – AFTERNOON

JACOB is sitting on the settee, in complete silence. JIMMY is sitting on the settee opposite JACOB. REBECCA walks inside the room with a mug of tea in her hands. She hands it to JACOB.

JACOB (politely)
Thank you.

JACOB takes a sip of the tea as REBECCA sits on the settee with JIMMY.

REBECCA
It’s terrible hearing what Hayley’s done. Think of all the innocent lives she’s ruined.

JACOB
I know. I was so shocked when I heard it on the news. What really worries me if she’s been hiding that from me, what else is she hiding?

REBECCA
Precisely.

JACOB places the mug of tea on the floor.

REBECCA
If you need anything, anything at all, just let us know.

JACOB
Actually, there is something.

JACOB gets to his feet and brings out a gun.

JACOB (continued)
You have to understand that this is nothing personal.

JACOB shoots JIMMY in the stomach, killing him. Before REBECCA
has time to react, JACOB shoots her in the stomach, killing her. He puts the gun away.

Cut to
EXT. – STREET – AFTERNOON

STITCH is walking casually down the street, being careful not

Page 19
to attract any unwanted attention towards himself.
He is unaware that MASON’S car is following him down the street. The car stops by the edge of the road. STITCH turns around as MASON gets out of the car.

STITCH
Dad.

MASON
I’m not going to give up on you, Stitch.

MASON walks towards STITCH, who stands nervously.

MASON (continued)
I know I don’t deserve a second chance, but could you try? Whatever you want me to do, I’ll do it.

STITCH
No.

MASON pulls STITCH in for a hug. MASON slyly brings out a gun and aims it at STITCH’S stomach.

MASON
Get in the car.

MASON keeps hold of STITCH as he walks to the car. STITCH struggles. MASON loads the gun. STITCH stops struggling.

MASON (continued)
Don’t piss me off.

STITCH
Why, Dad? Why are you doing this?

MASON
My work does not concern you. (stops at the car) Now, get in.

STITCH elbows MASON in the stomach, who lets go of him. STITCH
grabs hold of MASON and bangs his head on the car door. MASON falls to the floor. STITCH darts down the street.
MASON aims the gun at STITCH. He is about to pull the
trigger, but STITCH turns down an alley. MASON gets to his
feet and gets inside the car.

Cut to
INT. – JIMMY AND REBECCA’S LIVING ROOM – AFTERNOON

JACOB is standing before JIMMY and REBECCA’S bodies, which are

Page 20
on the settee. JACOB searches through JIMMY’S trouser pockets in search of JIMMY’S mobile phone. He finds it and brings it out. He dials MASON’S mobile number and rings it…

Cut to
INT. – MASON’S CAR – AFTERNOON

MASON is driving the car down the street, looking down passageways in search of STITCH. MASON’S phone rings. MASON brings out his phone and answers it, unaware that JACOB is ringing him.

MASON
Yeah.

JACOB
Mason! Have you found the boy?

MASON
Not yet.

JACOB
What of the old man?

MASON
He’s been taken care of.

JACOB
Good work. As for Stitch, he has a friend. Megan. Try there.

Cut to
EXT. – MEGAN’S FRONT GARDEN – AFTERNOON

STITCH runs across the front garden and stops at the front door, knocking on it. He is out of breath having run away from MASON. The front door opens and MEGAN stands in the doorway of the house.

MEGAN (surprised)
Stitch?

STITCH
Hey.

STITCH looks behind him to make sure he was not followed to
the house.

Cut to
INT. – MEGAN’S HALLWAY – AFTERNOON

Page 21
STITCH hurries inside the house and closes the front door. MEGAN is shocked that STITCH has just walked, uninvited into the house.

MEGAN
You can’t just barge in here!

STITCH
Sorry. Can I come in?

MEGAN
It’s a bit late now you’re in.

STITCH
Let’s go to your room.

STITCH walks up the stairs. MEGAN sighs and walks after STITCH.

Cut to
INT. – MEGAN’S BEDROOM – AFTERNOON

STITCH walks inside the room. He is followed closely by MEGAN, who closes the bedroom door. STITCH looks around the room.

STITCH
(faces MEGAN) Are your parents in?

MEGAN
No. Why?

STITCH
Just wondering. I wouldn’t mind meeting them one day.

MEGAN
Okay. You’re really starting to freak me out. First, you’re weird down the phone. Now you’re saying you want to meet my parents. What happened to the Stitch I know at school?

STITCH
I’m me. I’m still the same person. I’m sorry. Things have been really bad.

MEGAN
I can tell.

STITCH
(sits on the edge of the bed) I want to tell you. I do. I just
can’t.

Page 22
MEGAN
Then why are you here?

STITCH
For some company, if that’s okay with you?

MEGAN sighs and sits beside STITCH.

MEGAN
I’m glad you came over. I’ve missed you.

STITCH smiles. Silence.

STITCH
So what have I missed at school?

MEGAN
Work, work and more work.

STITCH laughs.

MEGAN (continued)
Since we haven’t been rehearsing, I’ve had more chance to catch up on work.

STITCH
I’m really sorry for messing you around with rehearsals. It’s not been fair on you.

MEGAN
Like I said. It’s not been too bad.

STITCH
When’s our performance?

MEGAN
Six weeks.

STITCH
Shit. We’ve only rehearsed the first act.

MEGAN
I was thinking about cancelling it. I’ve got a lot of work that needs doing and you’re busy.

STITCH
Don’t let that stop you. It’s been your dream to perform this play. I’m not letting you give up that easily.


Page 23
MEGAN
What’s the point? You’re my co-star and you’ve missed about five rehearsals.

STITCH
What I’m doing will only take a few more days, then I’m all yours.

MEGAN
That’s what I like about you, Stitch. No matter how grim things look, you’re always smiling. It’s impossible to find that with other people.

STITCH
Must be my puppy dog eyes.

MEGAN
Or your killer smile.

STITCH smiles. There is an awkward silence between them. The doorbell goes. STITCH gets to his feet and looks out of the window. He sees MASON standing at the front door.

STITCH
Oh no.

MEGAN
(gets to her feet) What? Who is it?

MEGAN also looks out of the window and sees MASON standing at the front door.

STITCH
It’s me Dad. (faces MEGAN) You’ve got to get rid of him. Please, Megan. Do this for me.

The doorbell goes again. MEGAN opens the bedroom door and
walks out of the room.

Cut to
INT. – MEGAN’S HALLWAY – AFTERNOON

MEGAN walks down the stairs as the doorbell goes again. She opens the front door and sees MASON standing in the doorway of the house.

MASON
I’m looking for my son, Stitch. I heard you’re his friend. Have you seen him at all?

Page 24
MEGAN
No, sorry. I haven’t seen him for a few days now.

MASON pushes MEGAN out of the way and walks up the stairs.

MEGAN (loudly)
Hey! You can’t just come in!

MEGAN walks after MASON.

Cut to
INT. – MEGAN’S BEDROOM – AFTERNOON

MASON bursts inside the room and searches for STITCH, unaware that he is hiding underneath the bed. MEGAN walks inside the room and watches MASON as he searches for STITCH.

MEGAN
I told you I haven’t seen him.

Certain that MEGAN is telling the truth, MASON walks out of the room. The front door can be heard slamming shut as MASON leaves the house. MEGAN looks out of the window and watches MASON as he walks out of the front garden.

MEGAN (continued)
He’s gone.

STITCH gets out from underneath the bed.

STITCH
Thank you so much.

MEGAN
It’s about time you told me what’s going on, don’t you?

Cut to
EXT. – MEGAN’S FRONT GARDEN – AFTERNOON

MASON stands at his car, which is parked by the edge of the road. He brings out his phone and scrolls through his contacts until he reaches JACOB’S number. He rings it. JACOB answers
the phone.
JACOB
Did you find him?

MASON
No. He wasn’t there.


Page 25
JACOB
How certain are you that he’s got it?

MASON
Completely. He’s got it. Whether he knows he’s got it is
another matter.

Cut to
INT. – POLICE INTERROGATION ROOM – AFTERNOON

HAYLEY is sitting at a table. Her hands have been handcuffed together. The door opens and FRANCESQA walks inside the room with a file in her hands.
She closes the door and stands before HAYLEY. FRANCESQA opens the file and brings out a handful of photographs. Each of them are the victims of HAYLEY. She places them on the table. HAYLEY looks at them.

HAYLEY
What’s these?

FRANCESQA
Pictures of the people you’ve killed.

HAYLEY
That’s funny. I’ve never seen these people before in my life.

FRANCESQA
(sits at the table) It is funny, isn’t it?

HAYLEY
What’s also funny is that you’ve been sleeping with my husband in order to get to me. Do you have any evidence against me or were you acting on a hunch?

FRANCESQA
We’ve got DNA samples that proves you were in the car with Edwin moments before he died.

HAYLEY
I see. And what other evidence have you obtained?

FRANCESQA is silent.

HAYLEY (continued)
I’d like to see these charges hold up in court.

FRANCESQA
I doubt it’ll make it that far. As soon as your people find

Page 26
out where you are, they’ll come for you. You’ll be lucky if you’ll make it till the end of the day.

HAYLEY
(smiles) You don’t know what you’re dealing with, do you? You
should do. It concerns you.

FRANCESQA
Enlighten me.

HAYLEY
You’ll see. Soon enough.

FRANCESQA
You know what? I’m going to put you back in your cell. It might help you to re-evaluate your choices a little.

FRANCESQA takes hold of the file and gets to her feet. She walks towards the door.

HAYLEY
Francesqa.

FRANCESQA turns back to face HAYLEY.

FRANCESQA
Yes, Hayley?

HAYLEY
Have you found my husband?

FRANCESQA
It’s only a matter of time.

HAYLEY
What about Stitch?

FRANCESQA is silent.

HAYLEY (continued)
You really ought to hurry up and find them. I don’t think they’re very safe on their own.

FRANCESQA
And why’s that?

HAYLEY
Because there’s a lot of dangerous people after them.


Page 27
Cut to
INT. – MEGAN’S BEDROOM – AFTERNOON

STITCH and MEGAN are sitting on the bed. STITCH is explaining to MEGAN everything that has occurred in the past two days. MEGAN is listening intently.

STITCH
I think Hayley has a pretty good idea what’s going on, but she hasn’t said to me. I mean, why would she? There’s not much I can do about it. I’m just a kid. I probably get in her way.

MEGAN
I’m sure she would’ve told you if it concerned you.

STITCH
Yeah.

The sole of STITCH’S right trainer peels back. A USB is visible in the bottom of STITCH’S trainer. STITCH picks it up.

MEGAN
Did you know that was in there?

STITCH
No.

Cut to
EXT. – JACOB AND HAYLEY’S BACK GARDEN – AFTERNOON

JACOB climbs over the back fence and lands on the grass. He brushes himself down and makes sure the coast is clear before he walks towards the shed.

Cut to
INT. – JACOB AND HAYLEY’S SHED – AFTERNOON

The shed door opens and JACOB walks inside the shed. He switches the light on and gently closes the door. He lifts up the floorboard, revealing the control panel.
JACOB types in the four digit code. The floor opens up, revealing the stairwell to HAYLEY’S armoury. He smiles to himself.

Cut to
INT. – POLICE CELL – AFTERNOON

HAYLEY is sitting on the bed, thinking to herself. The cell door can be heard unlocking and the door opens.

Page 28
SAM walks inside the room with a police uniform in her hands. She is also wearing a police uniform. SAM throws the uniform onto the bed.

SAM
Get changed. We’re leaving.

Cut to
INT. – MEGAN’S BEDROOM – AFTERNOON

MEGAN sits at the computer and STITCH stands beside her. He plugs the USB into the computer as MEGAN switches the computer screen on. STITCH’S Facebook profile is visible on the computer screen.

STITCH
Is that my…

MEGAN
(interrupts STITCH) No. No, it’s not.

MEGAN blushes as she minimizes STITCH’S Facebook profile.

STITCH
It’s okay. I go on yours, too.

The USB loads up and the recording of ANDY and EDWIN’S meeting plays. STITCH and MEGAN listen to it. STITCH recognizes ANDY’S voice.

STITCH (continued)
Who is that guy? He sounds familiar.

MEGAN
It’s the prime minister.

STITCH suddenly realizes that MASON only wanted him as he unknowingly had the USB.

STITCH
That’s it! This is what my Dad wants. He didn’t want me. How could I be so stupid?

MEGAN
But why would he want this?

STITCH
I don’t know. Maybe he’s going to try blackmailing him.


Page 29
MEGAN
Blackmailing the government. That’s serious business.

STITCH
Whatever he’s doing, it can hardly be good.

Cut to
INT. – POLICE STATION CORRIDOR – AFTERNOON

HAYLEY, who is now wearing the police uniform, is walking down the corridor with SAM. They are careful not to attract any unwanted attention toward their selves.
They pass FRANCESQA, who is reading a file as she walks towards HAYLEY’S cell. She is unaware that HAYLEY has escaped…

Cut to
INT. – MEGAN’S BEDROOM – AFTERNOON

STITCH and MEGAN are standing inside the room. STITCH has the USB in his hands, which he puts inside his back jean pocket.

STITCH
I’ve got to go back. Jacob might know where to go from here.

MEGAN
I’ll come with you.

STITCH
No. It’s too dangerous. (rests his hand on the side of MEGAN’S face) I don’t want anything bad to happen to you.

MEGAN
Be careful.

There is an awkward silence between them.

STITCH
I’ll call you when it’s over.

STITCH turns and walks to the bedroom door.

MEGAN
Stitch.

STITCH turns back to face MEGAN, who walks to him. MEGAN kisses STITCH on the lips. STITCH blushes slightly.

STITCH
What was that for?

Page 30
MEGAN
I think you know.

STITCH smiles. STITCH turns and walks out of the room. The front door can be heard closing as STITCH leaves the house.

Cut to
EXT. – MEGAN’S FRONT GARDEN – AFTERNOON

STITCH walks across the front garden and stops by the edge of the road. He turns and looks to MEGAN’S bedroom window. MEGAN can be staring down at him. STITCH turns and walks away.

Cut to
INT. – HAYLEY’S CAR – AFTERNOON

SAM is driving the car down the street. HAYLEY is sitting in the front passenger’s seat, staring out of the window. She faces SAM.

HAYLEY
I appreciate what you’ve done, but honestly, you should’ve left me.

SAM
And let you die? No chance. You’re onto something big. You
can’t give up now.

HAYLEY
No?

SAM
You’re the only one who can do this, Hayley. Without you, there is no hope.

HAYLEY looks back out of the window.

Cut to
EXT. – JACOB AND HAYLEY’S FRONT GARDEN – AFTERNOON

STITCH is standing alone in the street, staring at the house, which is still cordoned off by the police.
POLICE OFFICER 1 and POLICE OFFICER 2 are standing
next to a police car, which is parked by the edge of the road, quietly talking to each other. Their backs are to the house. STITCH sneaks along the side of the house and makes his way to the back garden.

Cut to

Page 31
EXT. – JACOB AND HAYLEY’S BACK GARDEN – AFTERNOON

STITCH creeps along the side of the house. He suddenly stops as he catches a glimpse of POLICE OFFICER 3 standing at the back door, surveying the garden.
POLICE OFFICER 3 turns and walks back inside the house. STITCH breathes a sigh of relief. He runs towards the shed.

Cut to
INT. – JACOB AND HAYLEY’S SHED – AFTERNOON

The shed door opens and STITCH walks inside the shed. He closes the shed door. STITCH looks at the floorboards and sees that the one JACOB had moved, is out of place.
He lifts up the floorboard, revealing the control panel and types in the four digit code. The floor opens up, revealing the stairwell.

Cut to
INT. – HAYLEY’S ARMOURY – AFTERNOON

STITCH walks down the stairwell and into the room. JACOB is standing at the computer, looking at the CCTV footage of the house. His back is to STITCH.

STITCH
Jacob?

JACOB turns to face STITCH. He breaks into a smile.

JACOB
You made it, kid.

STITCH
(walks to JACOB) I think I know what Dad wants.

STITCH brings out the USB from his back jean pocket and hands it to JACOB, who looks at it.

JACOB
What’s on it?

STITCH
A recording of some kind. It’s between the prime minister and this other guy. I’m not sure who he is.

JACOB
Who else knows about this?


Page 32
STITCH
No one. Why?

JACOB
The other man on the recording. His name’s Edwin. He’s Hayley’s boss.

STITCH
Wait. How do you…

MASON walks down the stairwell and into the room. He has a gun in his hands. STITCH turns to face him.

STITCH (continued)
Dad.

MASON
(faces JACOB) Have you got it?

JACOB shows the USB to MASON, who smiles.

STITCH
(faces JACOB) You set us up.

JACOB
Sorry, kid. It’s really nothing personal.

STITCH
Hayley trusted you.

JACOB
More for her. Who trusts nowadays? It’s pointless. People only get hurt.

STITCH
Like you’d know anything about that.

JACOB
Oh, Stitch. If only you knew.

MASON
(loads the gun) Now what to do with you…

Cut to
INT. – SAM’S APARTMENT DINING ROOM – AFTERNOON

HAYLEY is sitting at the table, now wearing casual clothes. SAM walks inside the room with a file in her hands. She is also wearing casual clothes.

Page 33
SAM
It took some time, but I managed to locate Mason’s
records.

SAM hands the file to HAYLEY, who looks through it. SAM sits at the table.

SAM (continued)
He used to work as a government spy, until six years ago.

HAYLEY
That’s when his wife died. I remember Stitch telling me.

SAM
He discovered that the government had been working with organizations to bring down the people opposing them. They thought he’d become a liability and so arranged for him to be taken care of. The breaks to his car were cut.

HAYLEY
That’s why he crashed. He wasn’t able to stop.

SAM
Now he has a vendetta against the government.

HAYLEY
Where do I come into this?

SAM
That’s all I have. I can’t help you any more than I have done.

HAYLEY
(closes the file) No. That’s great. Thank you.

HAYLEY’S phone rings. HAYLEY brings it out and sees that a withheld number is ringing her. She answers the phone, unaware that MASON is ringing her.

MASON
If you ever want to see your husband again, listen to what I have to tell you.

HAYLEY
Go on.

MASON
You are no doubt aware of a recording, of which I have also obtained. I am willing to give you both if you meet me. Think of it as a chance to put things behind us. The location will

Page 34
be forwarded to you. Oh, and come alone.

The call cuts out. HAYLEY’S phone bleeps. She has received a new message, which reads: ‘Docklands. Eight pm.’

SAM
It’s a trap.

HAYLEY
No doubt. Are you with me?

SAM
I have been so far. Why not see it through to the end?

HAYLEY smiles.

Cut to
EXT. – DOCKLANDS – EVENING

HAYLEY’S car stops at the docklands. The driver’s door opens and gets out of the car. She closes the car door. She stands away from the car and patiently awaits MASON’S arrival.
Three cars pull into the docklands and stop. MASON gets out of the first car. Eight armed men get out of the other two cars. They aim their guns at HAYLEY as MASON stands before her. He searches HAYLEY to make sure she is not armed.

HAYLEY
Where is he?

MASON whistles. MAN 1 opens the back left door of the first and brings out JACOB, who’s hands have been tied behind his back.

HAYLEY (continued)
Stitch?

MASON
He’s safe.

MAN 1 brings JACOB before HAYLEY and MASON.

MASON (continued)
Untie him.

MAN 1 unties JACOB. JACOB hugs HAYLEY affectionately. MASON smirks. JACOB brings out a gun and aims it at HAYLEY’S stomach. The true nature of JACOB’S betrayal is revealed.


Page 35
JACOB
Sorry, Hayley, but you’re not the one. (rests his hand on MASON’S shoulder) Mason. He completes me.

MASON
You look surprised.

HAYLEY
Why, Jacob?

JACOB
A few years back, Mason came to me. He told me his situation and me, being the ever faithful friend, agreed to help him out. Free of charge, might I add.

HAYLEY
Who’s Damien Richards?

MASON
No one. The name doesn’t exist.

JACOB
I created it as an alter-ego to myself. The name doesn’t really suit me, does it? Oh. By the way, that old guy.

HAYLEY
Henry.

JACOB
Yeah. Him. He’s sadly no more. He has hopefully moved onto a better place.

HAYLEY
You bastard.

JACOB
You see, Hayley. You’ve lost. There’s no getting out of this one.

MAN 1 aims his gun at HAYLEY’S stomach.

JACOB (continued)
Goodbye, Hayley. Or should I say Tamara? It’s up to you. I really don’t mind.

MASON
We don’t have time for this. Kill her all ready.

JACOB

Page 36
As you wish.

JACOB blows a kiss to HAYLEY. MAN 1 is about to pull the trigger, but he is shot dead.
The men look for the mysterious shooter. HAYLEY uses the distraction to remove the gun from JACOB’S hands. She is surprised to see the gun click.

MASON (loudly)
Kill her!

Another man is shot dead. JACOB and MASON run towards the first car. HAYLEY picks up MAN 1’S gun from off the floor. She shoots at JACOB and MASON as they get in the car and drive away. The men turn their attention to HAYLEY.
She runs and ducks behind her car for cover. The men shoot at the car. SAM comes into sight, armed with two guns. She shoots down another man. SAM makes her way towards HAYLEY. Midway there, SAM is shot twice in the stomach.

HAYLEY
Amanda!

HAYLEY gets out from behind the car. She continues to shoot at the men as she runs to SAM.

SAM (weakly)
I’ll cover you.

SAM provides covering fire for HAYLEY. HAYLEY grabs hold of SAM and drags her back towards the car. SAM runs out of bullets as they reach the car.

HAYLEY
Hold on. I’m gonna get you outta here.

HAYLEY gets out from behind the car and shoots down the remaining men. She puts the gun away. HAYLEY turns back to face SAM, who is bleeding heavily.

HAYLEY (continued)
Amanda.

SAM
It’s too late.

HAYLEY crouches down and holds onto SAM.

SAM (continued)

Page 37
I’m sorry I couldn’t be of more help.

HAYLEY
You’ve been so helpful. (pauses) Do you have anyone you’d like me to contact?

SAM
(gasps) It’s just me.

SAM reaches out to HAYLEY’S gun. She intends for HAYLEY to put her out of her pain.

SAM (continued)
Do it. Please.

HAYLEY reluctantly takes hold of the gun and aims it at SAM’S stomach. SAM nods. HAYLEY shoots SAM in the stomach, killing her. HAYLEY breaks down in tears.
She manages to recompose herself. HAYLEY gets to her feet. She brings out her phone and rings JACOB, who answers the phone.

JACOB
Still alive, gorgeous?

HAYLEY
Wherever you try running, I will find you and I will kill you.
That’s a promise.

JACOB
Have fun with that.

The call cuts out and HAYLEY puts the phone away. HAYLEY opens the driver’s door of her car and gets inside the car. She switches the engine on and drives away.

Cut to
INT. – SAM’S KITCHEN – NIGHT

HAYLEY walks inside the room and switches the light on. The front door can be heard opening. HAYLEY brings out a gun and stands behind the kitchen door.
FRANCESQA walks inside the room with a gun in her hands. HAYLEY steps out from behind the door and puts the gun against FRANCESQA’S head.

HAYLEY
You better give me one good reason why I don’t kill you now.


Page 38
FRANCESQA
I came alone. I didn’t have to.

HAYLEY puts the gun away. FRANCESQA also puts her gun away.

FRANCESQA (continued)
What you said to me earlier. I want to know the truth. What’s going on?

HAYLEY
I’ve been set up.

FRANCESQA
By who?

HAYLEY
The people I work for. Jacob. Everyone.

FRANCESQA
Tell me everything. Right from the beginning.

HAYLEY is silent.

FRANCESQA (continued)
How can I help you if I don’t know what I’m up against?

HAYLEY paces up and down the room as she talks with FRANCESQA.

HAYLEY (reluctantly)
The organisation I work for specialises in targeted killings. Top secret. A file containing a list of all the people
associated with the company, fell into the hands of the government. The prime minister specifically. He’s been getting us to do his dirty work.

FRANCESQA
For how long?

HAYLEY
That doesn’t matter. What does matter is that there is a recording of him meeting with Edwin to discuss their partnership. That’s made its way into Mason’s hands.

FRANCESQA
What does he intend to do with it?

HAYLEY
The prime minister is responsible for the death of his wife, so what do you think? Jacob’s been working with him the whole

Page 39
time. (pauses) You’ve been spying on me. Turns out you’ve been spying on the wrong person.

FRANCESQA
How do we work out their next move?

HAYLEY
Jacob doesn’t keep anything at the house. I’m guessing if you could get me into his office, I’d be able to hack his computer.

FRANCESQA
(smiles) What’re we waiting for?

HAYLEY
It’s not that simple. Jacob will be expecting us to look there, which means it could be dangerous. Arresting someone is another matter. I want to know if you could kill a person.

FRANCESQA
If a situation like that arose...

HAYLEY
(interrupts FRANCESQA) I need to know for sure.

FRANCESQA
Yes.

HAYLEY
I really hope you can.

Cut to
INT. – WAREHOUSE OFFICE – NIGHT

STITCH is sitting on a chair in the middle of the room. His hands and feet have been tied to the chair. He struggles as he attempts to break free from the chair.
The office door opens and STITCH acts normally as JACOB walks inside the room and switches the light on. STITCH is momentarily blinded by the light.

JACOB
Stitch, my man! How are you?

STITCH is silent.

JACOB (continued)
You don’t like me much, do you? Shame. After all we’ve been though, I thought we’d get on well.

Page 40
STITCH
What do you want?

JACOB
You’ll be pleased to know we found Hayley...again. This time she won’t get away from us. (pauses) It’s such a shame. I think you could’ve done well following in your Father’s footsteps.

STITCH
And end up like you? I don’t think so.

JACOB
(walks to STITCH) You don’t quite understand what we’re trying to achieve here. We’re making history.

STITCH
Not if Hayley has anything to do with it.

JACOB
You really need to stop relying on her. It’s not good for your health, mate.

Cut to
INT. – JACOB’S OFFICE – NIGHT

The office door opens and FRANCESQA creeps inside the room. She is followed closely by HAYLEY, who closes the door. They each have a pair of leather gloves on to avoid leaving any fingerprints. They make their way towards the computer.
HAYLEY sits at the desk and FRANCESQA stands beside her. HAYLEY switches the computer screen on and is surprised to see that JACOB previously forgot to log out of the computer.

HAYLEY
That’s just made our job a whole lot easier.

HAYLEY searches through all of the files on the computer.

FRANCESQA
I’m sorry. I knew you loved Jacob, but I still went along with it.

HAYLEY
When I found out he was sleeping with you, I wanted to kill you.

FRANCESQA
What are you trying to achieve from this?

Page 41
HAYLEY
The chance to start again. Away from all this.

FRANCESQA
I can’t promise you that.

HAYLEY
I know.

FRANCESQA
You’ve had the chance to run. What made you stay?

HAYLEY
The hope I might actually learn what’s going on around here.

Silence.

FRANCESQA
When you find Jacob, what are you going to do to him?

HAYLEY is silent. FRANCESQA realises that HAYLEY intends on killing JACOB.

FRANCESQA (continued)
Killing’s not always the right thing to do.

HAYLEY
It works for me.

FRANCESQA
Yeah. Look where that’s got you.

HAYLEY loads up a list of JACOB’S most recent bank transactions. Two million pounds has been transferred into a private bank account. HAYLEY hovers the mouse over it.

FRANCESQA
What would he want for two million?

HAYLEY loads up JACOB’S private email account. The inbox is empty. HAYLEY’S phone rings. HAYLEY brings out her phone and sees that JACOB is ringing her. She answers the phone.

JACOB
Aw, look at the two of you working together. Who’d have guessed you’d make such a great team? (pauses) Did you find what you were looking by any chance?

HAYLEY looks up and sees a CCTV camera in the corner of the

Page 42
room. FRANCESQA is also aware of it. FRANCESQA brings out a silenced pistol and shoots the camera.

HAYLEY
(faces FRANCESQA) We need to leave.

HAYLEY gets to her feet.

JACOB
Don’t go. The fun was about to start.

A helicopter can be seen flying towards the building. HAYLEY finishes the call and puts the phone away. HAYLEY watches as
the helicopter levels at the window.

HAYLEY
You have got to be kidding me.

HAYLEY and FRANCESQA watch as the helicopter turns around and MAN 2 can be seen manning a chain gun.

HAYLEY (loudly)
Get down!

HAYLEY grabs hold of FRANCESQA and pulls her down behind the desk as MAN 2 opens fire on them.
The room is torn apart by the gunfire. MAN 2 stops firing and the helicopter flies onto the roof of the building. HAYLEY faces FRANCESQA, who is visibly frightened.

HAYLEY (continued)
Are you okay?

FRANCESQA
(nods) Yeah.

HAYLEY
(gets to her feet) Yeah.

FRANCESQA also gets to her feet. They make their way towards the office door.

Cut to
INT. – OUTSIDE JACOB’S OFFICE – NIGHT

The office door opens and HAYLEY and FRANCESQA creep out of the office. They are both armed. They make their way down the corridor, towards the lift.
They are about to turn into another corridor, but hear

Page 43
the footsteps of two men approaching them. HAYLEY turns into
the corridor and shoots both men in the right leg and arms. They fall to the floor.

HAYLEY
It’s clear.

FRANCESQA comes out from behind the wall. She walks with HAYLEY to the lift. HAYLEY presses the button to go down and realises that there is no power to the lift.

HAYLEY (continued)
Lift’s down.

FRANCESQA
Looks like we’re taking the stairs.

Cut to
INT. – OFFICE STAIRWELL – NIGHT

The stairwell door opens and HAYLEY and FRANCESQA run into the stairwell with their guns in their hands. MAN 2 and MAN 3 can be heard sprinting down the stairs, towards HAYLEY and FRANCESQA. HAYLEY faces FRANCESQA.

HAYLEY
Can we get to the car park from here?

FRANCESQA
Yeah. Follow me.

FRANCESQA runs down the stairs, towards the ground floor. HAYLEY follows closely behind her. HAYLEY turns around and shoots MAN 3 in the leg. MAN 3 rolls down the stairs.
HAYLEY reloads the gun as she runs with FRANCESQA. They reach the bottom of the stairs and FRANCESQA walks towards a door on the right, which leads to the car park.

Cut to
INT. – OFFICE CAR PARK GROUND FLOOR – NIGHT

HAYLEY and FRANCESQA run across the car park, towards HAYLEY’S car, which is parked close to a pillar. MAN 2 runs into the car park with a gun in his hands.
He opens fire on HAYLEY and FRANCESQA, who reach HAYLEY’S car. HAYLEY brings out her car keys and unlocks the car.

Cut to
INT. – HAYLEY’S CAR – NIGHT

Page 44
The driver’s door and the front passenger’s door opens. HAYLEY gets in the driver’s seat and FRANCESQA gets in the front passenger’s seat.
They close the car doors and put their seatbelts on. HAYLEY switches the engine on and drives out of the car park. MAN 2 is unable to follow them. HAYLEY drives slowly down the street to avoid any unwanted attention.

HAYLEY
Do you think you could find out the prime minister’s current location for me?

FRANCESQA
You don’t think they’re going to act this soon, do you?

HAYLEY
Better to be safe than sorry.

FRANCESQA brings out her mobile phone from her jacket.

Cut to
INT. – WAREHOUSE OFFICE – NIGHT

STITCH is still sitting, tied to the chair. He is attempting to break free from it. STITCH manages to free his left arm. He then unties his other arm and his legs.
STITCH gets to his feet and creeps towards the office door. He opens it slightly and peers through it. There is no one to be seen. STITCH opens the door further.

Cut to
INT. – WAREHOUSE GROUND FLOOR – NIGHT

STITCH creeps out of the office, being careful not to be spotted by JACOB or MASON. The room is filled with barrels of petrol. STITCH hides behind a crate as JACOB and MASON walk down the stairs and are talking to each other. They walk towards the warehouse door.

MASON
After several years of waiting, I will finally have my revenge.

JACOB
You’ve worked hard for this.

MASON
(rests his hand on JACOB’S shoulder) And so have you, my friend. You will have your revenge.

Page 45
JACOB
I could never stand touching her knowing what she did.

MASON
It’s time.

JACOB
Good luck.

MASON opens the warehouse door and walks out of the warehouse. JACOB closes the door. MASON’S car can be heard leaving the warehouse. JACOB turns around and stares at the crate. He is aware of STITCH hiding behind it.

JACOB (continued)
It’s rude to eavesdrop. You of all people should know better, Stitch.

STITCH comes out from behind the crate. JACOB walks towards STITCH, who stands cautiously.

JACOB (continued)
What you must understand is that I did not have a choice but to help your father. He discovered a part of my past I thought was buried. He did to me what he intends to do with the prime minister.

STITCH
I don’t believe you.

JACOB
There’s a bomb, which is set to detonate during this morning’s rush hour. I can’t live knowing that something could’ve been done to stop it from detonating.

JACOB brings out a sheet of paper and a pen and writes down the location of the bomb. He holds it out to STITCH.

JACOB (continued)
You’ve got to find Hayley. Only she can help us.

STITCH takes hold of the sheet of paper and puts it in his back jean pocket. Silence.

JACOB (continued)
Go now. You don’t have long.

STITCH
Thank you.

Page 46
STITCH runs to the warehouse door. He opens it and runs out of the warehouse. He closes the door. JACOB breaks into a smile.

Cut to
EXT. – THE FRONT OF THE WAREHOUSE – NIGHT

STITCH is running across a beaten down track, in the hope of making it safely back into the city. STITCH is careful to avoid any oncoming vehicles that pass him.

Cut to
INT. – HAYLEY’S CAR – NIGHT

HAYLEY is driving the car down the street. FRANCESQA is sitting in the front passenger’s seat. FRANCESQA’S mobile phone rings. FRANCESQA brings it out and answers the call.

FRANCESQA
Yeah. Okay. Thanks.

FRANCESQA finishes the call and holds the phone in her hands.

FRANCESQA (continued)
The prime minister’s staying at the Casablanca hotel.

HAYLEY suddenly turns the car around and drives in the direction of the Casablanca hotel.

HAYLEY
The hotel’s ten minutes away. If we’re lucky, we’ll get to him before Mason does.

FRANCESQA
I hope I don’t have to remind you there’s a speed limit.

HAYLEY looks to FRANCESQA, who smiles.

HAYLEY
I hate police.

FRANCESQA
I’m not so keen on contract killers.

Cut to
INT. – HOTEL PENTHOUSE SUITE – NIGHT

ANDY is sitting at the table, typing something into his laptop, which is on the table. ANDY stops typing and reads
through what he has written. There is a knock on the

Page 47
hotel door. ANDY gets to his feet and walks to the door.
He opens it and sees MASON standing in the doorway of the room. MASON brings out a taser and uses it on ANDY. ANDY collapses to the floor, unconscious.

Cut to
EXT. – STREET - NIGHT

STITCH is walking casually down the street and is careful not to attract any unwanted attention towards himself.
He spots WOMAN getting out of her car with her handbag in her hands. The car is parked by the edge of the road. STITCH hurries towards her.

STITCH (politely)
Excuse me. I’m really sorry to bother you, but would you mind giving me a lift downtown? I was supposed to be at a party, but things got out of hand. I don’t have my phone on me either.

WOMAN
(sighs) Hop in.

Cut to
INT. – HOTEL RECEPTION – NIGHT

HAYLEY and FRANCESQA sprint inside the hotel, each with their guns in their hands. They sprint to the lift. HAYLEY presses the button for the lift.
FRANCESQA looks to the RECEPTIONIST, who is standing behind the reception counter and is startled by their presence.

FRANCESQA (loudly)
Call security! Get them to meet us on the penthouse level!

The lift doors open.

Cut to
INT. – HOTEL LIFT – NIGHT

HAYLEY and FRANCESQA hurry inside the lift. HAYLEY presses the button for the top floor and the lift doors close. They remain un-distracted by the classical music playing in the background.

HAYLEY
Was that really necessary back there?


Page 48
FRANCESQA
Better be safe than sorry.

HAYLEY shrugs.

Cut to
INT. – HOTEL TOP FLOOR – NIGHT

The lift doors open and HAYLEY and FRANCESQA run out of the lift. They run down the corridor, in the direction of the penthouse suite. They see two bodies on the floor, resembling ANDY’S security detail.

HAYLEY (whispering)
Stay close.

HAYLEY slowly opens the penthouse suite door.

Cut to
INT. – HOTEL PENTHOUSE SUITE – NIGHT

HAYLEY bursts inside the room with her gun in her hands. She quickly surveys the room. Satisfied that the room is clear, HAYLEY puts the gun away. FRANCESQA walks inside the room and sees that it is empty.

HAYLEY
They’ve taken him.

SECURITY GUARD 1 and SECURITY GUARD 2 hurry inside the room.

Cut to
INT. – WOMAN’S CAR – NIGHT

WOMAN is driving the car down the street. STITCH is sitting in the front passenger’s seat, looking out of the window. WOMAN looks at STITCH, suspicious of his reasons for asking for a lift.

WOMAN
So how did this party get out of hand?

STITCH
There were just a lot of people there. It was too crowded for my liking.

WOMAN
What would your parents say about you leaving your phone at home?

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STITCH
My mum’s not around and my dad. He wouldn’t care.

WOMAN
Why’s that?

STITCH
I’d rather not talk about it.

WOMAN
I’m sorry for asking.

STITCH (reluctantly)
My mum’s dead and my dad drinks a lot. I’d rather not be around to see him drink himself to death.

WOMAN
I’m sorry.

STITCH
You weren’t to know.

STITCH looks out of the window and recognises the cafe in which himself HAYLEY and JACOB previously visited.

STITCH (continued)
I’ll be all right from here.

WOMAN
Are you sure? I don’t mind dropping you back home.

STITCH
It’s fine. Thank you for the lift.

WOMAN stops the car by the edge of the road. STITCH takes his seatbelt off.

WOMAN
You take care now.

STITCH
Bye.

STITCH opens the front passenger’s door.

Cut to
EXT. – OUTSIDE THE CAFE – NIGHT

STITCH gets out of the car and closes the front passenger’s

Page 50
door. He puts his hand up to WOMAN, who drives away. STITCH looks to the public phonebox further down the street and walks towards it.

Cut to
INT. – HOTEL PENTHOUSE SUITE – NIGHT

HAYLEY is standing at the window, looking at the street below. FRANCESQA finishes talking to SECURITY GUARD 1 and SECURITY GUARD 2. She stands beside HAYLEY and also looks out of the window.

FRANCESQA
Security has checked CCTV from the past hour. Mason was spotted leaving the car park in a white van. I could try and track the van down.

HAYLEY
No. That would take too long. (faces FRANCESQA) If you were to kidnap someone, where would you take them?

FRANCESQA
Some place out of the way.

HAYLEY
Exactly. Do you think you’d be able to get me a list of all factory and warehouse purchases in the city during the past twelve months?

FRANCESQA walks away as she brings out her mobile phone. HAYLEY’S mobile phone rings.
HAYLEY brings out it and sees that an unrecognised number is ringing her. HAYLEY answers the phone, unaware that STITCH is ringing her.

HAYLEY (quietly)
Yeah.

STITCH
Hayley, it’s me.

HAYLEY
Stitch. Where are you?

STITCH
Near the cafe we were at yesterday.

HAYLEY
Wait for me. I’ll be there as soon as I can.

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STITCH
Something doesn’t make sense. Jacob. He let me go.

HAYLEY
Just stick tight.

HAYLEY finishes the call and continues to hold her phone in her hands. FRANCESQA walks to HAYLEY after finishing her call.

FRANCESQA
The list is being gathered as we speak.

HAYLEY
Something better’s come up. Let’s go.

HAYLEY and FRANCESQA walk towards the penthouse door.

Cut to
INT. – WAREHOUSE GROUND FLOOR – NIGHT

ANDY is sitting on a chair in the middle of the room with a plastic bag covering his face.
His hands and feet have been tied to the chair. JACOB and MASON are standing before ANDY. A laptop is on top of a table. MASON removes the bag from ANDY’S face.

MASON
Prime minister.

ANDY
(looks around) What is this? Where am I?

MASON
Do you remember me? No? Not even a little?

ANDY
I’ve met a lot of people. How can I surely be expected to remember you?

MASON
You took my wife from me.

ANDY
Look. Is all this necessary? Let me go and we can talk about this.

MASON
(faces JACOB) Play the recording.


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JACOB brings out the USB and plugs it into the laptop. ANDY nervously watches JACOB.

ANDY
What’s he doing?

MASON
We’ve obtained a recording of you plotting to kill innocent people.

JACOB
It’s ready.

JACOB plays the recording. They are surprised to hear that the audio has been replaced with just STITCH talking.

STITCH
Hey, everyone. You’re obviously listening to this because you thought it was the recording. Why else would you...

JACOB switches the recording off.

ANDY
What is this?

MASON (muttering)
I’ll kill him.

JACOB
Relax. I’ll take care of it.

MASON
How can you take care of it? You let him go.

ANDY
Something wrong, gentlemen?

MASON walks to ANDY and punches him in the face.

Cut to
INT. – CAFE – MORNING

Dawn. STITCH is sitting at a table on his own and has a half-empty mug of hot chocolate in front of him.
STITCH looks up as HAYLEY walks inside the cafe. She is followed closely by FRANCESQA. STITCH gets to his feet as HAYLEY and FRANCESQA walks to him.

STITCH

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Hayley!

STITCH looks at FRANCESQA suspiciously.

STITCH (continued)
What’s she doing here?

HAYLEY
She’s here to help.

STITCH
And you think you can trust her?

HAYLEY
She’s been helpful so far.

FRANCESQA
I’m sorry that you think you can’t trust me, Stitch.

STITCH
Funny. Last time we met, you tried shooting me.

HAYLEY (firmly)
Stitch. Enough.

STITCH
I’m sorry.

STITCH stands with his back against the table.

HAYLEY
So what did Jacob say to you?

STITCH
That there’s a bomb somewhere in the city.

STITCH brings out the written address from his back jeans pocket. He hands it to HAYLEY, who looks at it.

HAYLEY
How long do we have?

STITCH
Half an hour. Hour tops.

FRANCESQA
It could be a trap.

HAYLEY

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Could be. (faces FRANCESQA) You should go check it out. Take Stitch with you.

HAYLEY passes the address to FRANCESQA, who looks at it.

FRANCESQA
What are you going to do?

HAYLEY
I’ve got to finish this. (faces STITCH) Where did they keep you?

STITCH
Some warehouse. It’s not far from here.

HAYLEY
There’s only one warehouse this side of town.

HAYLEY walks towards the cafe door. STITCH and FRANCESQA walk after her.

Cut to
EXT. – OUTSIDE THE CAFE – MORNING

HAYLEY’S car is parked by the edge of the road. HAYLEY walks out of the cafe. She is followed closely by STITCH and FRANCESQA. FRANCESQA has the written address in her hands.
HAYLEY brings out her car keys and uses them to unlock the car. She opens the boot.
There is a rucksack and a steel container inside the boot. HAYLEY opens the container, revealing plastic explosives. She puts the explosives inside the rucksack and closes it. She puts the rucksack on her back. HAYLEY closes the boot and faces STITCH and FRANCESQA.

HAYLEY
Take the car.

HAYLEY throws the car keys to FRANCESQA, who catches them.

STITCH
Good luck, Hayley.

HAYLEY
You need it more than I do.

STITCH watches HAYLEY as she turns and walks down the street.

FRANCESQA

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Let’s go.

Cut to
INT. – HAYLEY’S CAR – MORNING

The driver’s door and the front passenger’s doors open. FRANCESQA gets in the driver’s seat and STITCH gets in the front passenger’s seat. They close the doors and put their seatbelts on.

FRANCESQA
Keep hold of this.

FRANCESQA passes the written address to STITCH. She then switches the engine on and drives down the street. Silence.

STITCH
I’m sorry. For what I said back there.

FRANCESQA
You had your reasons. I won’t hold that against you.

Cut to
INT. – WAREHOUSE GROUND FLOOR – MORNING

ANDY is still sitting, tied to the chair. His face is bloody and his strength is no more. MASON is standing before ANDY, setting up a video camera.

ANDY (weakly)
What’s the camera for?

MASON
Wouldn’t you like to know?

ANDY
I urge you. Think about what you’re doing. The police. They’ll be looking for me.

MASON
(interrupts ANDY) And when they find you, it’ll be too late.

Cut to
INT. – HAYLEY’S CAR – MORNING

FRANCESQA is driving down the street. STITCH is sitting in the front passenger’s seat with the written address in his hands. A news report is playing on the radio, which STITCH is listening to.

Page 56
NEWS REPORTER
A nationwide search is on to find the missing prime minister, who disappeared in the early hours of the morning.

STITCH switches the radio off and sighs.

FRANCESQA
This is it.

FRANCESQA stops the car by the edge of the road. STITCH and FRANCESQA take their seatbelts off.

Cut to
EXT. – STREET – MORNING

The driver’s door and the front passenger’s door open and STITCH and FRANCESQA get out of the car. They close the doors and look for the whereabouts of the bomb. There are no nearby buildings.

FRANCESQA
I don’t get it. This is the right address.

STITCH looks around. He spots a manhole cover further down the road.

STITCH
(points to the manhole cover) Over there.

STITCH and FRANCESQA run to the manhole cover. They lift up the manhole cover and place it on the floor beside them. There is a ladder which leads into the sewers. FRANCESQA cringes at the smell of the sewers.

STITCH (continued)
Ready?

FRANCESQA nods.

Cut to
INT. – SEWERS – MORNING

STITCH climbs down the ladder and into the sewers. They are surrounded by complete darkness. He is followed closely by FRANCESQA, who stands in excrement. She squirms.

FRANCESQA (loudly)
Ew, this is disgusting!


Page 57
STITCH
(faces FRANCESQA) Have you got a light?

FRANCESQA
Only on my phone.

FRANCESQA brings out her mobile phone and hands it to STITCH. He uses the light on the phone to look around. There is no sight of the bomb.

STITCH
Come on.

STITCH walks through excrement as he searches for the bomb. FRANCESQA follows closely behind STITCH, muttering under her breath.

FRANCESQA (muttering)
I didn’t sign up for this.

STITCH smiles. They suddenly hear a rat scuttling. FRANCESQA screams.

FRANCESQA (nervously)
What the hell was that?!

STITCH
It’s just a rat.

FRANCESQA
Bloody things.

STITCH spots a steel container further along the pathway. He runs towards it. STITCH keeps the light on the container as FRANCESQA stands beside him.
They see that the container has been padlocked. FRANCESQA brings out her gun and repeatedly hits the padlock, until it breaks off. She opens the container, revealing the bomb. They see that the countdown has five minutes exactly before detonation.

STITCH
That’s not good.

FRANCESQA
No, it’s not. Now we’ve found the bomb, how are we going to defuse it? (faces STITCH) Give me the phone.

STITCH hands the phone to FRANCESQA, who checks the signal.

Page 58
She sees that she does not have a signal.

FRANCESQA (continued)
Shit. No signal. Do you have a phone on you?

STITCH
No.

FRANCESQA
Okay. This is bad. Think, Francesqa. Think. We could try moving it, but we have no idea how big the blast radius is. It could be the whole city.

STITCH
Three and a half minutes.

FRANCESQA
We don’t have enough time to evacuate or call the bomb squad. (sighs) I should’ve called them sooner. Why didn’t I think about that?

STITCH
Two minutes, Francesqa.

FRANCESQA
I’m trying! (paces up and down) That wouldn’t work. (stops) I’m sorry. I’ve let you down. I’ve let everyone down.

STITCH
No. You tried. There’s nothing more you could’ve done.

FRANCESQA looks at the bomb and sees that only one minute remains on the countdown before detonation. She sighs.

FRANCESQA (reluctantly)
So many things I’ve wanted to do. Now I can’t do any of them.

STITCH
What were they?

FRANCESQA
Sounds silly, but I’ve always wanted to win the lottery.

STITCH
(smiles) Don’t we all.

FRANCESQA
I was going to donate some of the money to charity. Then I would’ve used the rest of the money to go travelling. I’ve

Page 59
always wanted to see the world. I’ve never even left the country. My parents never had a lot of money. What about you?

STITCH
I don’t know what I’d like to do. Never really thought about it.

STITCH and FRANCESQA look at the bomb and see that only ten seconds remain on the countdown before detonation.
They close their eyes, readying their selves for the end. The countdown reaches zero and yet nothing happens. STITCH and FRANCESQA open their eyes.

STITCH (continued)
We’re still alive.

FRANCESQA
That’s good.

STITCH
No. It means that Jacob set us up again.

FRANCESQA
The bomb was a decoy.

STITCH
He knew that Hayley would be the one to come after him.

STITCH and FRANCESQA sprint across the sewer, towards the ladder...

Cut to
EXT. – THE FRONT OF THE WAREHOUSE – MORNING

HAYLEY is laying inside a bush with a set of thermal binoculars in her hands. Her rucksack is on the floor beside her. HAYLEY looks through the binoculars and sees two heat signatures inside the warehouse.
She realises that the heat signature on the ground floor must be ANDY and the heat signature on the first floor must be MASON. But where is JACOB? HAYLEY puts the binoculars inside the rucksack and takes hold of it. She gets to her feet and runs towards the front of the warehouse.

Cut to
INT. – WAREHOUSE GROUND FLOOR – MORNING

ANDY is sitting, tied to the chair in the middle of the room. He has now been blindfolded. The warehouse door creaks open

Page 60
and HAYLEY walks inside the warehouse with a gun in her hands.
She checks to make sure the coast is clear before she closes the warehouse door. HAYLEY runs to a barrel of petrol. She takes off her rucksack and places it on the floor. She brings out the plastic explosives and plants it beside the barrel. She then runs to ANDY, removing his blindfold. He recognises HAYLEY from the news.

ANDY
You.

HAYLEY (whispering)
Keep quiet. I’m getting you out of here.

HAYLEY begins untying ANDY, unaware that MASON is standing behind her with a gun in his hands. He puts it to HAYLEY’S head.

MASON
So nice of you to join us, Hayley.

HAYLEY reluctantly puts her hands in the air. MASON removes HAYLEY’S gun from her.

MASON (continued)
Turn around.

HAYLEY turns to face MASON.

HAYLEY
The bomb was a decoy. You knew I’d send them after it.

MASON
And by the time they realised it was a decoy, you’d already be dead. But you already knew. You knew full well there wasn’t a bomb.

HAYLEY
It’s not their fight.

MASON
No. Goodbye, Hayley.

The plastic explosives suddenly explode, along with the barrel of petrol. An explosion rips through the warehouse and the force of it knocks HAYLEY and MASON off their feet.
MASON’S gun rolls across the floor. HAYLEY chokes as she crawls towards ANDY. She finishes untying him. He gets to his feet.

Page 61
HAYLEY
Get out of here.

ANDY runs towards the warehouse door as another explosion rips through the warehouse. ANDY runs out of the warehouse. HAYLEY looks to MASON, who’s eyes are closed. She slowly walks towards him. MASON slides his leg out, tackling HAYLEY.
She falls to the floor. MASON gets to his feet. He picks up the chair and tries to hit HAYLEY with it. She rolls out of the way and gets to her feet. She punches MASON in the face. He smiles.

Cut to
EXT. – THE FRONT OF THE WAREHOUSE – MORNING

ANDY is on his knees, a safe distance away from the warehouse, and is choking violently.

Cut to
INT. – HAYLEY’S CAR – MORNING

FRANCESQA is driving the car down the beaten down road, towards the warehouse. STITCH is sitting in the front passenger’s seat, desperately hoping to get to HAYLEY in time.
The warehouse comes into sight. STITCH and FRANCESQA see that the warehouse is in flames. They also see ANDY crouching on his knees outside the warehouse. STITCH points to him.

STITCH
Over there!

FRANCESQA
I see him.

FRANCESQA slams on the breaks, bringing the car to a sudden halt.

Cut to
EXT. – THE FRONT OF THE WAREHOUSE – MORNING

The driver’s door and the front passenger’s door of HAYLEY’S car open and STITCH and FRANCESQA get out of the car. They close the doors and run to ANDY, who manages to recompose himself. FRANCESQA helps ANDY to his feet.

FRANCESQA
You’re safe now, sir.

ANDY (weakly)

Page 62
There’s others. Still inside.

STITCH
Hayley.

STITCH runs towards the warehouse.

FRANCESQA
Stitch, no! It’s not safe!

Cut to
INT. – WAREHOUSE GROUND FLOOR – MORNING

Another barrel of petrol explodes, causing another major explosion inside the warehouse. HAYLEY is laying on the floor, badly injured. MASON is standing before HAYLEY with a bloody face. HAYLEY attempts to crawl away.
MASON smiles and walks after HAYLEY. He kicks her in the stomach and she groans. They are unaware of STITCH running inside the warehouse. He closes the warehouse door and locks it. He takes the key out.

MASON
You see, Hayley. There’s no stopping me. You’ve lost. How does it feel? To be on the verge of death.

HAYLEY is silent. MASON kicks HAYLEY in the stomach.

MASON (furiously)
You’ll answer when spoken to.

HAYLEY
You’re about to find out.

MASON smirks. He goes to pick up his gun from off the floor, but STITCH tackles him. The gun rolls across the floor. MASON grabs hold of STITCH and throws him into the wall. STITCH hits his head on the wall and falls to the floor, unconscious.

MASON
You’re no son of mine.

HAYLEY gets to her feet. She goes to punch MASON, but he turns and ducks out of the way. He punches HAYLEY in the face. She falls to the floor. MASON gets on his knees and begins strangling HAYLEY. She chokes.
STITCH slowly opens his eyes and sees MASON’S gun on the floor in front of him. He reaches out and takes hold of the gun. He gets to his feet and aims the gun at MASON, who is

Page 63
strangling HAYLEY.

MASON
End of the line, Hayley.

HAYLEY loses consciousness. MASON hears STITCH loading the gun. He smiles and turns to face STITCH.

STITCH
Don’t move. I will shoot you.

MASON
Don’t be stupid, Stitch. Put the gun down.

MASON slowly walks towards STITCH, who keeps his finger on the trigger.

STITCH
I mean it!

MASON
You and I both know you don’t have it in you to kill me.

STITCH shoots the ground by MASON’S feet.

MASON (continued)
Would you really, though? Would you kill me?

STITCH shoots MASON in the stomach. MASON laughs. STITCH
repeatedly shoots MASON in the stomach.
MASON falls to the floor, dead. STITCH drops the gun on the floor, shocked that he has just killed MASON. He walks to MASON’S body and crouches beside it. He holds onto MASON’S body.

STITCH
I love you, Dad, but I couldn’t let you carry on. People were getting hurt.

An explosion suddenly rips through the warehouse. HAYLEY opens her eyes. She sits up and sees STITCH crouching over MASON’S body. She gets to her feet and stands with STITCH.

STITCH (continued)
It wasn’t supposed to end like this.

There is another explosion. Part of the ceiling collapses
onto the floor.


Page 64
HAYLEY
We need to leave.

STITCH kisses MASON on the forehead.

STITCH (softly)
You’re with Mum now.

STITCH gets to his feet. He runs with HAYLEY to the warehouse door. As they are about to reach it, the ceiling collapses, blocking their way to the door.

STITCH (continued)
We’re trapped.

HAYLEY looks for another way out. She sees a manhole cover in the corner of the room.

HAYLEY
Come on.

HAYLEY takes hold of STITCH by the arm and they sprint to the manhole cover. They remove the manhole cover and see a ladder that leads to JACOB’S underground facility.

HAYLEY (continued)
You first.

Cut to
INT. – JACOB’S UNDERGROUND FACILITY – MORNING

It is pitch black. STITCH climbs down the ladder and into the facility. He brushes himself down as HAYLEY climbs down the ladder.

HAYLEY
(faces STITCH) Are you okay?

STITCH
Yeah.

The lights automatically turn on, lighting up the facility. There is a corridor and at the end of it is a ladder which leads back onto the surface. HAYLEY and STITCH look around the facility. They see a shrine dedicated to SUSIE.
There are several photographs of her, along with her school exercise books and some of her personal possessions. STITCH looks at the photographs of her.


Page 65
STITCH (continued)
Who is she?

HAYLEY
Susie. But why?

JACOB stands behind them with a gun in his hands.

JACOB
She’s beautiful, isn’t she?

HAYLEY and STITCH turn to face JACOB. They see the gun in his hand.

JACOB (continued)
After all this time, I’m surprised you haven’t worked out who I am. Can’t you remember me? Not even a little?

HAYLEY suddenly realizes that JACOB is BLAKE.

HAYLEY
Blake. But you can’t be. You’re supposed to be dead.

JACOB
Oh, I wanted to be dead. Nigh on taking my own life, Mason found me. He told me he knew where to find you and that I’d be able to have my revenge. Blake died and Jacob was born. (looks to a photograph of SUSIE) She was only fifteen when you took her from me.

STITCH
(faces HAYLEY) The girl from your story.

HAYLEY
She made my life a living hell. What did you expect me to do?

JACOB
Anything but take her from me. She was the love of my life.

HAYLEY
I’m sorry.

JACOB
The funny thing is, she told me you liked me. I thought it was just one of things. But what I don’t understand is if you liked me so much, why didn’t you talk to me? Too scared?

The entire ceiling shakes violently. It will collapse imminently.

Page 66
HAYLEY
We have to leave.

JACOB
No. No one’s going anywhere.

JACOB aims the gun at HAYLEY’S stomach.

JACOB (continued)
You thought you could stop me, but it’s game over. I win.

JACOB is about to pull the trigger, but an explosion rips through the room. JACOB is knocked off his feet. Part of the ceiling collapses onto JACOB, trapping him. JACOB struggles.

HAYLEY
Goodbye, Jacob.

HAYLEY turns and walks down the corridor towards the ladder. STITCH keeps eye contact with JACOB.

JACOB
Help me.

STITCH
I can’t. Sorry.

STITCH turns and runs to keep up with HAYLEY. They reach the ladder.

JACOB (shouting)
Hayley, no!

STITCH climbs up the ladder and onto the surface. HAYLEY takes one last look at JACOB. She begins to climb up the ladder.

JACOB (continued)
Hayley!

An explosion suddenly rips through the facility and down the corridor, supposedly killing JACOB.

Cut to
EXT. – THE BACK OF THE WAREHOUSE – MORNING

HAYLEY and STITCH are standing a safe distance away from the warehouse and they watch as it explodes. HAYLEY and STITCH creep along the side of the warehouse remains. They see police cars and an ambulance at the front of the warehouse.

Page 67
FRANCESQA and ANDY are also visible. ANDY’S face is bruised. FRANCESQA looks for HAYLEY, concerned that she did not make it out of the warehouse alive.

HAYLEY (whispering)
Come on.

HAYLEY and STITCH make their way up a hill and see that the main road is not far from them. They walk towards it….

Cut to
EXT. – JACOB AND HAYLEY’S FRONT GARDEN – AFTERNOON

A taxi pulls over by the edge of the road. The back door opens and HAYLEY gets out of the taxi. She is followed closely by STITCH, who closes the door. The taxi drives away. HAYLEY and STITCH stare at the house.

HAYLEY
Let’s go.

Cut to
INT. – HAYLEY’S ARMOURY – AFTERNOON

HAYLEY and STITCH walk down the stairwell and into the room. The lights switch on automatically.

HAYLEY
You wait here. There’s some things I need to collect from the house.

STITCH
Okay.

HAYLEY turns and walks up the stairwell. STITCH casually looks around the room.

Cut to
INT. – JACOB AND HAYLEY’S BEDROOM – AFTERNOON

HAYLEY is sitting on the edge of the bed with her wedding day photographs in her hands. She stares at a photograph of herself and JACOB, smiling into the camera.

Cut to
INT. – PENTHOUSE SUITE – NIGHT – FLASHBACK

The night of HAYLEY and JACOB’S wedding. The bedroom door is kicked open and JACOB walks inside the room, carrying HAYLEY.

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She is giggling. There is a bottle of champagne and two wine glasses at the bottom of the bed.
JACOB gently lays HAYLEY on the bed. He opens the bottle and pours himself and HAYLEY a glass of champagne. He sits on the edge of the bed and hands a glass of champagne to HAYLEY.

JACOB
To us.

HAYLEY
To us.

They gently tap glasses and drink the champagne. They then kiss passionately.

Cut to
INT. – JACOB AND HAYLEY’S BEDROOM – AFTERNOON

HAYLEY is still sitting on the edge of the bed with her wedding day photographs in her hands. HAYLEY runs her finger over JACOB’S face and cries. She wipes the tears away from her eyes. JACOB steps inside the room with a gun in his hands.
His face is badly burnt from being caught in the explosion, and his clothes are torn. JACOB loads the gun. HAYLEY turns to JACOB and is surprised to see that he is still alive.

JACOB
Hello, babe. Missed me?

Cut to
INT. – HAYLEY’S ARMOURY – AFTERNOON

STITCH is standing inside the room, patiently awaiting HAYLEY’S return. Concerned that she is taking so long, STITCH walks towards the stairwell.

Cut to
INT. – JACOB AND HAYLEY’S KITCHEN – AFTERNOON

The back door opens and STITCH walks inside the room. He closes the back door and looks for HAYLEY. She is nowhere to be seen.

STITCH (calling)
Hayley! Are you there?

There is no reply.


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STITCH (continued)
Where are you?

There is still no reply.

STITCH (muttering)
Strange.

STITCH walks towards the kitchen door.

Cut to
INT. – JACOB AND HAYLEY’S HALLWAY – AFTERNOON

STITCH walks out of the kitchen and begins to walk across the hallway. It is quiet. Too quiet.

STITCH
Hayley! Hello.

There is still no reply. STITCH peers inside the living room and sees that it is empty. STITCH then stands at the bottom of the stairs. He begins to walk up them.

Cut to
INT. – JACOB AND HAYLEY’S BEDROOM – AFTERNOON

The bedroom door opens and STITCH walks inside the room. He is surprised to see HAYLEY laying on the floor. Her hands and feet have been tied together and she is gagged.

STITCH
Hayley!

STITCH hurries towards HAYLEY, unaware of JACOB emerging from behind the bedroom door with the gun in his hands.
STITCH begins HAYLEY. She moans. STITCH turns around, just as JACOB hits him round the head with the gun. STITCH falls to the floor, unconscious…

Cut to
INT. – JACOB AND HAYLEY’S KITCHEN – AFTERNOON

HAYLEY and STITCH are sitting on the floor, unconscious, with their backs against each other’s. They have been tied together. JACOB is standing before them.
His gun is on the table. HAYLEY and STITCH slowly open their eyes. STITCH moans due to having been hit with the gun.

STITCH

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(mumbles) My head.

HAYLEY turns and sees JACOB standing inside the room.

HAYLEY
Jacob.

JACOB
It’s amazing, isn’t it? Our will to live. Back at the warehouse, I thought I was a goner. My whole life flashed right before my eyes and then I saw Susie. It dawned on me. It wasn’t my time to go. I was kept alive so that I could kill you.

HAYLEY
Even if I didn’t kill her, what’s saying you’d still be with her today?

JACOB
It would’ve been her choice to make. (crouches in front of STITCH) Do you have someone you love? Someone you’d be willing to die for?

STITCH
Yes.

JACOB
What’s her name?

STITCH
Megan.

JACOB
Ah, Megan. Describe her to me. Don’t feel embarrassed.

STITCH
She’s beautiful and has wonderful eyes. She’s everything I could ever want.

HAYLEY
Jacob.

JACOB (furiously)
I’m not talking to you!

JACOB slaps HAYLEY across the face. He turns back to face STITCH.

JACOB (continued)

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I want you to close your eyes. Imagine you two were going out. Just picture that in your mind.

STITCH closes his eyes as he pictures himself dating MEGAN.

JACOB (continued)
Can you picture it?

STITCH nods.

JACOB (continued)
Your life is complete. Now imagine what it feels like to have her taken away from you.

STITCH silently cries. He opens his eyes, still crying. He tries to remain strong.

JACOB (continued)
Hurts so much, doesn’t it?

STITCH
(nods) Yeah.

JACOB
Now you might just understand all the pain I’ve been through. All that unnecessary agony. Now look at me. I look like a monster. If you saw me walking down the street, would you look at me?

STITCH is silent.

JACOB (furiously)
Answer me!

STITCH
(shakes his head) No!

JACOB
(points to his burns) How can you call this normal?!

HAYLEY
Jacob, stop it! Stop this now!

JACOB returns to his normal height. He stands before HAYLEY and slaps her across the face.

HAYLEY (continued)
I know how this is going to end, so hurry up and get it over with.

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JACOB
Oh, I’d love to. But part of me thinks you want to die. (pauses) It seems that the only way to hurt you is to hurt those closest to you.

HAYLEY
I have no one.

JACOB
How about your parents? The ones who sit at home praying their missing daughter will one day come home.

HAYLEY
Don’t you dare lay a finger on them!

JACOB
Relax. Tracking them down would take far too long. I’ve found someone much closer to home.

JACOB picks up the gun from the table and he stands before STITCH.

HAYLEY
No! Don’t you dare! Jacob! Please, don’t!

JACOB
You’re going to have to beg better than that.

JACOB presses the gun against STITCH’S left leg.

STITCH (nervously)
No, please. Don’t.

STITCH tries to move his leg, but JACOB holds it still. He holds his finger on the trigger.

HAYLEY
I’m glad I killed Susie! She got what she deserved. Ask everyone else. They’ll agree with me.

JACOB
Now you’ve seen her true colours. You can see her for the bitch she really is.

JACOB squeezes the trigger, shooting STITCH in the leg. STITCH screams from the agony of it. JACOB stands before HAYLEY, aiming the gun at her stomach.

JACOB (continued)

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You really shouldn’t have said that.

FRANCESQA creeps inside the room with a gun in her hands. JACOB holds his finger on the trigger. HAYLEY closes her eyes, accepting her fate. FRANCESQA shoots JACOB three times in the back.

JACOB (weakly)
Susie.

JACOB falls to the floor, dead. FRANCESQA puts the gun away and begins untying HAYLEY and STITCH.

FRANCESQA
Backup’s on its way. You’ve got to get out of here.

Now free, HAYLEY gets to her feet. FRANCESQA crouches before STITCH.

FRANCESQA (continued)
It’s okay, Stitch. Help is on its way.

HAYLEY watches FRANCESQA as she takes off her jacket and wraps it around his leg to stop it from bleeding further. Police sirens can now be heard approaching the house. FRANCESQA faces HAYLEY.

FRANCESQA (continued)
Go now!

HAYLEY looks to STITCH, who nods. She turns back to face FRANCESQA.

HAYLEY
Thank you.

HAYLEY darts out of the room. FRANCESQA continues tending to STITCH’S leg. Fade to black.

Cut to
INT. – STITCH’S HOSPITAL ROOM – EVENING

STITCH is laying on the bed, asleep. He is connected to a heart monitor, which is beeping slowly. STITCH’S left leg is bandaged, having been shot.
He has a few cuts and grazes on his face. The door opens and HAYLEY walks inside the room. She closes the door and stands before STITCH, who slowly opens his eyes.


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STITCH
Hayley.

HAYLEY
(smiles) Hey.

STITCH
I knew you’d come back.

HAYLEY
I don’t have much time. The recording. Where is it?

STITCH
With Megan...

Cut to
INT. – MEGAN’S KITCHEN – EVENING

MEGAN, MEGAN’S MUM and MEGAN’S DAD are sitting at the table, quietly eating their dinner. They each have a drink in front of them. Banging can be heard from inside MEGAN’S bedroom. MEGAN stops eating.

Cut to
INT. – MEGAN’S BEDROOM – EVENING

HAYLEY is looking around the room for the USB which contains ANDY’S confession. HAYLEY hears footsteps approaching the bedroom. She stands with her back against the wall as the bedroom door opens and MEGAN walks inside the room.
HAYLEY closes the door. MEGAN turns around and jumps, startled by HAYLEY’S presence.

MEGAN
Who are you?

HAYLEY
I’ve come for the USB.

MEGAN
Are you Hayley?

HAYLEY smiles sweetly. MEGAN opens the top drawer of the bedside cabinet and brings out the USB. She hands it to HAYLEY, who puts it away.

MEGAN (continued)
Is Stitch okay?


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HAYLEY
He’s in hospital, but he’ll be fine.

MEGAN
What happened to him?

HAYLEY (reluctantly)
I failed to look after him. I’m sorry.

Silence. HAYLEY opens the bedroom door. She is about to leave the room, but she stops and turns back to face MEGAN.

HAYLEY (continued)
I can see you care for him. Don’t be afraid to tell him how you feel.

HAYLEY walks out of the room, leaving MEGAN standing on her own.

Cut to
INT. – ANDY’S OFFICE – EVENING

HAYLEY is sitting at the desk with a gun in her hands.
The office door opens and ANDY walks inside the room, humming to himself. His face is bruised from where he was beaten by MASON. ANDY closes the office door and jumps when he sees HAYLEY sitting at the desk. HAYLEY aims the gun at ANDY’S stomach.

HAYLEY
Sit. Now!

ANDY reluctantly sits in front of HAYLEY, recognizing her from earlier in the day.

ANDY
You saved my life.

HAYLEY
A lot of innocent people have been killed because of you.

ANDY
What makes you decide they’re so innocent?

HAYLEY
I have taken lives, yes. But I never wanted this. (pauses) I came to deliver you an ultimatum. Step down.

ANDY

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Or?

HAYLEY
(brings out the USB) This will be made public. You know what will happen next.

ANDY
(smiles) You make an interesting case, but how do I know you’re not bluffing?

HAYLEY
Feel free to listen to it if you like.

ANDY (reluctantly)
If I did step down, how do I know that won’t be made public for the hell of it?

HAYLEY
I give you my word. You have twenty-four hours. If you refuse to step down, I will kill you. That’s a promise I won’t break.

HAYLEY gets to her feet. She opens the office door and walks out of the room. She closes the door. ANDY removes his tie and begins contemplating his next move…

NEWS REPORTER (voiceover)
There are reports that the prime minister has stepped down. His reasons for stepping down are unclear at the moment, but we are hoping to receive full details as the morning progresses.

Six Weeks Later

Cut to
INT. – SCHOOL PERFORMANCE HALL – EVENING

STITCH and MEGAN are on the stage performing the final scene in the play. There are several rows of seating, which is filled with audience members.
HAYLEY is sitting amongst the audience, watching the play intently. STITCH and MEGAN join hands on stage.

STITCH
I know I messed up, but will you give me another chance? (pauses) I love you.

MEGAN smiles. STITCH slowly leans forward, kissing MEGAN on the lips. She responds. STITCH and MEGAN turn to the audience and bow down, signaling the end of the play. The entire

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audience gets to their feet and applause them.
STITCH spots HAYLEY standing amongst the audience and smiles. He looks to the other audience members. He looks back to where HAYLEY was standing and sees that she has disappeared.

Cut to
EXT. – CEMETARY – MORNING

STITCH is standing before his Mum’s gravestone with a bouquet of flowers in his hands. He places them on the ground.

STITCH
I love you, Mum.

STITCH turns around and sees HAYLEY sitting on a bench. STITCH
walks to the bench and sits beside HAYLEY.

HAYLEY
I enjoyed the play.

STITCH
They’re talking about me going to going to drama school.

HAYLEY
What’s stopping you from going?

STITCH
Money.

HAYLEY
I don’t think that will be a problem for you.

STITCH
That reminds me. I have something for you.

STITCH brings out a folded sheet of paper from his left jean pocket and hands it to HAYLEY.

HAYLEY
What is it?

STITCH
Open it up.

HAYLEY opens up the folded sheet of paper and sees that an address has been written on it.

HAYLEY

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It’s an address.

STITCH
Not just any address. It’s the address of your parents. I managed to track them down. Took me a while.

HAYLEY
Stitch, you shouldn’t have.

STITCH
I know. But if I left it to you to get in contact with them, it would never happen.

Silence.

STITCH (continued)
Will I ever see you again?

HAYLEY
Maybe. One day.

Cut to
INT. – CAFÉ – AFTERNOON

FRANCESQA is sitting alone at a table, reading a newspaper. She has a half-empty mug of coffee in front of her. HAYLEY sits at the table. FRANCESQA continues reading the newspaper.

FRANCESQA
Can I get you a drink?

HAYLEY
No, thank you.

FRANCESQA
(closes the newspaper) How are you?

HAYLEY
I’m getting there.

FRANCESQA
You’ll find someone. (pauses) Where will you go?

HAYLEY
Figured I might go see the world. But there is something I must do first.

Cut to
INT. – HAYLEY’S CAR – AFTERNOON

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HAYLEY parks the car outside MARGARET’S house. She takes her seatbelt off and exhales. She is anxious about meeting her parents after so long. HAYLEY opens the driver’s door.

Cut to
EXT. – MARGARET’S FRONT GARDEN – AFTERNOON

HAYLEY gets out of the car and closes the door. She walks across the front garden and stops at the front door. She rings the doorbell.

MARGARET (calling)
I’m coming! I’m coming!

The front door opens and MARGARET, late sixties, is standing in the doorway of the house. She instantly recognizes HAYLEY.

MARGARET (continued)
Tamara?

HAYLEY
(smiles) Hey, mum.

MARGARET
My baby girl. You came home.

MARGARET pulls HAYLEY in for a hug. She breaks down in tears in HAYLEY’S arms. HAYLEY rubs MARGARET’S back. They eventually let go.

MARGARET (continued)
Come inside.

Cut to
INT. – MARGARET’S HALLWAY – AFTERNOON

HAYLEY steps inside the house and closes the front door. She looks around the hallway as MARGARET wipes the tears away from her eyes. There are framed school photographs of TAMARA on the wall. HAYLEY looks at them.

MARGARET
We never gave up hope. Your father’s in the living room.

Cut to
INT. – MARGARET’S LIVING ROOM – AFTERNOON

KARL, late sixties, is sitting on the settee, watching the television. He has the television remote in his hands.

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MARGARET walks inside the room and KARL puts the television on mute.

KARL
Who was at the door, Margaret?

MARGARET
Our baby.

HAYLEY walks inside the room. KARL is stunned to see the return of his lost daughter.

HAYLEY
Dad.

KARL
Tamara. You’re home.

KARL breaks down in tears as HAYLEY hugs him. MARGARET also joins in with the hug.

HAYLEY (voiceover)
In life, we are all faced with a series of choices that could change everything. For better or for worse. The choices an average person would make is should I look for a new job or stick with the safety and security of my current job? Do I really love this person or is there someone better out there for me? I made my choices, just like everyone else. For better or for worse…

Fade Out