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?

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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.


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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.

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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.


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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.


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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.


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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.

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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

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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.


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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.


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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

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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

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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

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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

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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

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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

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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

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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.

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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?


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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.

Page 51
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.


Page 52
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

Page 53
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

Page 55
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.

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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.

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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?


Page 75
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

Page 77
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.

Page 80
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