FADE IN:

EXT. HIGH STREET COMPUTER GAME SHOP -- DAY

It's Christmas. PAUL TYRELL, is walking quickly, pushing people out of the way. PAUL TYRELL is in his early thirties and his clothes are wrinkled and grubby The street is busy, though not crowded. Paul is sweating, looks and is exhausted. There is a hands free mobile phone kit in Paul's ear. Paul stops outside the door of the computer game shop and looks all around, he is very nervous.

PAUL TYRELL
(nervous)
This is it, the last one!

KILLERS VOICE (O.S.)
(electronically distorted)
Relax Paul. You are doing fine. Talk soon. Five minutes.

Paul swipes the hands free kit out of his ear, he takes a breath and then enters the shop.

INT. HIGH STREET COMPUTER GAME SHOP -- DAY

Paul enters the shop. There are only a few other people in the shop, beside the two members of staff and a security guard. Paul looks around nervously, and spots one of the staff members standing behind the counter and walks with haste towards him. Paul reaches the counter.

PAUL TYRELL
(calm but hidden)
I'll take a Playstation two please!

The sales clerk smiles and looks at Paul as if Paul had told a familiar and beloved joke.

SALES CLERK
(sarcastic)
Yeah? Well you and about half this city.

PAUL TYRELL
You haven't got one then?

SALES CLERK
Not for about two weeks, we can put your name down for one, but its going to well into the new year.

Paul's head drops in defeat. As Paul raises his head back up he spots a few Playstation boxes over to one side. Paul points to them as though the sales person had never seen them before. Paul is slightly filled with hope.

PAUL TYRELL
What about those? Over there?

The Clerk looks over to the boxes and then looks back to Paul.

PAUL TYRELL (CONT'D)
(agitated)
Well?

SALES CLERK
(matter of fact)
Those are promotional boxes! They are empty. Display purposes only.

PAUL TYRELL
(thoughtful)
Okay! How much for one.

The Clerk looks to Paul with a large amount of confusion.

SALES CLERK
(puzzled)
They are just boxes! Nothing is in them!

PAUL TYRELL
(aggressive)
How much?

The SECURITY GUARD becomes more interested in Paul, and comes over to stand close to where Paul is talking to the Sales Clerk. The Clerk moves out from behind the counter and over to the empty boxes, he takes one and brings it over to Paul.

SALES CLERK
Here, if it means that much to you? Take one.

Paul is relieved. He grabs the box, and starts to run out of the shop. But stops at the doorway. Paul turns to look back at the clerk.

PAUL TYRELL
Thank you! You will never know what this means. Thank you.

The Clerk is now worried and confused. Paul rushes from the shop. The Clerks looks out the window to see Paul run off.

EXT. CITY STREET -- MOMENTS LATER

Paul puts the hands free mobile kit back into his ear. The phone rings almost instantly. Paul is carrying the box under his arm.

KILLERS VOICE (O.S.)
(electronically distorted)
How did it go Paul? Well, I hope.

Paul looks around at the people passing him by. Paul pays most of his attention to those people who are on mobile phones. Paul looks to a clock on the wall of a nearby building.

KILLERS VOICE (O.S.) (CONT'D)
(electronically distorted)
Time is up. Paul, please present.

Paul takes a deep breath and he lifts the box up like a trophy over his head. This attracts strange looks from the people who are walking by.

PAUL TYRELL
(relieved)
Task completed!

KILLERS VOICE (O.S.)
(electronically distorted)
Paul?

PAUL TYRELL
(unsuspecting)
Yeah?

KILLERS VOICE (O.S.)
(electronically distorted)
There is nothing in that box, Paul.

Paul drops the box onto the ground. A look of complete shock comes across Paul's face.

PAUL TYRELL
(scared)
How? How did you know that?

KILLERS VOICE (O.S.)
(electronically distorted)
You broke one of the rules.

PAUL TYRELL
(scared)
Which one?

KILLERS VOICE (O.S.)
(electronically distorted)
I'm always watching!

A laser point moves up Paul's body and fixes on the dead centre of Paul's forehead. Paul starts to cry, people keep their distance from him.

PAUL TYRELL
(pleading)
Please, don't?

KILLERS VOICE (O.S.)
(electronically distorted)
Overall, disappointing.

The laser point disappears from Paul's forehead, and silently a bullet hits the exact spot where the laser point was. Paul keeps standing for a moment, but as blood falls from the entry point, Paul falls to his knees and then to flat on his face, hard. The people who were keeping their distance start to gather around. One of the bystanders moves in close to Paul's body and takes his pulse.

EXT. OPPOSITE SIDE OF THE STREET -- MOMENTS LATER

The top floor window of a building across the street from where Paul lies dead. The window is closed and there is the mark of a small bullet hole.

INT. VIOLENT CRIMES UNIT TASK ROOM -- DAY

A busy room. There are six plain clothes detectives in the room. Four are men and two are women. The four men are THOMAS FALLON, PAUL ARCHER, JUSTIN EVERS, AND DON LARK. Thomas Fallon is the head of the Task Force, he is in his late forties, and dresses as though he is a younger man. Don Lark is in his early thirties and so is Justin Evers, Paul Archer is in his mid to late twenties. The two women detectives are GABRIELLE HANLY AND ROBIN SHERMAN. Gabrielle Hanley is in her early forties, while Robin Sherman is in her early twenties. There are a few uniformed police officers delivering mail and papers in and out of the room. Thomas is standing in front of a white board, which holds three photographs, in black and white, of two women and one man, all dead, and all with the same clean bullet entry wounds to the foreheads. In the centre of the white board is a map of Dublin, and from each of the photos there is a red line leading to a pin in a different part of the city.

THOMAS FALLON
(to himself, whispered)
No pattern. No fingerprints. No way to find the next possible target.

Robin Sherman, dressed casually, walks up to the desk which is behind where Thomas is sitting. Robin sits on the desk she looks at the photographs as well.

ROBIN SHERMAN
(worried)
You've been staring at that map for hours. Anything striking you about this?

Thomas turns to face Robin, he gives her a quick smile, then turns back to the board.

THOMAS FALLON
(down)
Other than a female then male pattern developing. This killer breaks every rule we have on serials.

Robin folds her arms and then shrugs.

ROBIN SHERMAN
(honest)
I've never took the profiles as gospel. Humanity always has a way of surprising everyone.

Thomas once again turns and looks with sadness to Robin.

THOMAS FALLON
(worryingly)
Humanity? What about inhumanity?

At the other end of the office, a uniformed police officer comes hurrying in, and walks straight up to Thomas. This attracts the attention of the other plain clothes detectives. OFFICER HARTMAN, the police officer is holding an A4 piece of paper which has some writing typed on it.

OFFICER HARTMAN
(to Thomas)
Sir! We've got another!

Thomas just nods to the officer and takes the paper from him. Officer Hartman leaves. Thomas reads the paper for a few moments, and then puts the paper down on his desk.

THOMAS FALLON
(after Hartman)
Thank you Officer.

Don, Gabrielle, Justin, and Paul all make their way from their desks to where Thomas and Robin are. Thomas is putting on his coat. He looks to his team.

THOMAS FALLON (CONT'D)
(to detectives)
Okay. Forensics are taking the physical evidence, Eddie is taking photos. We've got a dead one.

Thomas takes out his gun from the drawer of his desk.

THOMAS FALLON (CONT'D)
Collect your things. Five minutes we're out the door.

Robin, Don, Paul, Justin, and Gabrielle all go to their desks. Robin turns back to Thomas. Thomas notices that Robin is paying him attention and starts to feel uncomfortable.

THOMAS FALLON (CONT'D)
(uneasy)
What is it Robin?

ROBIN SHERMAN
(worried)
You! You're going to give yourself a heart attack. Don't take this so personally.

Thomas lowers his head.

ROBIN SHERMAN (CONT'D)
(worried)
I don't want to lose you.

THOMAS FALLON
(reassuring / happy)
Appreciate your honesty. Don't worry, I'll take some time off when we catch this one. I promise.

ROBIN SHERMAN
I'll hold you to that one Dad.

THOMAS FALLON
(happy / authority)
Go on, get ready Robin.

As Robin goes to her desk Thomas turns back to the map of the city and puts a pin into the location of Paul's death. He then turns back to his desk.

THOMAS FALLON (CONT'D)
(to team)
Are we ready boys and girls?

Thomas looks to his team and sees that they are all ready and waiting at the door for him.

THOMAS FALLON (CONT'D)
(to himself)
I've got to take some time off, I really do.

EXT. CITY STREET -- AFTERNOON

The Paul Tyrell crime scene. The area around the body is sealed off. Many Uniformed Police are diverting traffic from the area.

The Police Photographer, EDDIE PARKER is snapping away, taking pictures of anything and everything around the covered, by a white sheet, body. Eddie holds the camera up to take a line of sight shot of where Paul would have had eye level to the window where the bullet came from. Three unmarked police cars come through the police barricade and park near the crime scene. Thomas and Robin get out of the first car, Don and Paul out of the second, and finally, Gabrielle and Justin out of the final car. Once the team is out of their cars they gather around Thomas.

THOMAS FALLON
(to team)
Right. You all know the drill. Go help the Uniforms collect statements. Once that's done just come find me. Robin? You are with me.

The team breaks up. Thomas and Robin walk over to Eddie. Eddie is just finishing reloading his camera. Once done Eddie takes a photo of Thomas and Robin.

EDDIE PARKER
(to Thomas)
A nice family portrait. How many copies do you want?

Thomas smiles, he and Eddie shake hands. Eddie and Thomas are genuinely happy to see each other. Robin goes straight to Paul's covered dead body. Robin lifts the coverings and looks at the head wound. Robin is not bothered by Paul's corpse. Thomas stands behind her and looks down on Paul's dead body.

ROBIN SHERMAN
It's definitely our man. Wonder how long this one lasted?

THOMAS FALLON
His name is Paul Tyrell, thirty five, neighbours haven't seen him in five days.

Robin covers the body back up and stands to face Thomas. Thomas is lost in thought. Robin then turns her attention to the empty Playstation two box, which is laying near to Paul's body. Thomas then notices the box.

THOMAS FALLON (CONT'D)
(curious)
Think that has something to do with this?

ROBIN SHERMAN
Probably. We should get forensics. That would make a good game.

THOMAS FALLON
How do you mean?

ROBIN SHERMAN
Those have been sold out for weeks. This killer likes to set hard challenges. This man had little to no chance.

THOMAS FALLON
(sad)
This man never had a chance, from day one.

Robin walks over to Eddie. Who is taking pictures of the crowd. Thomas lowers himself to take a batter look at Paul's body. Over by Robin and Eddie, Robin taps Eddie on the shoulder. When Eddie turns around and looks to see Robin, he gives her a hug and a smile.

EDDIE PARKER
(happy)
Hey kid! How are you?

Robin grimaces at being called a kid.

EDDIE PARKER (CONT'D)
Where have you been hiding yourself?

ROBIN SHERMAN
This is my first time out in the field. Since my promotion to the Unit, Dad's kept me tied to the desk, pushing paper.

EDDIE PARKER
(sympathetic)
You have to remember he's only known about you for ten years, he never even knew that he had a daughter.

ROBIN SHERMAN
I know, I know. I guess that Mom had her reasons for not telling him. Just wish he'd trust me more.

EDDIE PARKER
Just give him time. Thomas has a way of surprising people.

Robin nods her head in agreement and smiles to Eddie.

ROBIN SHERMAN
Have you photographed the origin of the shot yet?

EDDIE PARKER
I have, it's bare though, just an empty room.

Thomas walks up to Robin and Eddie, and Thomas does not look impressed.

THOMAS FALLON
Eddie? I'll need those as quick as you can. Thanks.

Eddie nods to Thomas, and then gives Robin a friendly wink. Eddie then walks away, placing the lens cap back on his camera.

THOMAS FALLON (CONT'D)
Robin? Go help the others. When you are finished, call me, I'll be at the origin.

A brief smile from Robin and then she walks over to where Don is taking a statement from a bystander. Thomas turns and starts to walk to the building that the shot that killed Paul came from. As Thomas walks to the building he purposefully keeps his eyes from anyone else.

INT. SMALL DARK ROOM (ORIGIN OF SHOT) -- MOMENTS LATER

As Thomas enters the room, Two Forensic men, dressed in white sterile suits and face masks are leaving the room. The room is dark, nearly all of the light from the street does not come in, as the glass is tinted. There is a small allowance of light coming in from the bullet hole in the window. Thomas looks at where the light bulb for the room should be, and it has been removed.

Thomas takes out a small maglite torch from the inside pocket of his coat. Thomas turns on the light and lets the light beam flow around the room. The light shows that there is no furniture or anything else in the room. Thomas turns off the light from the torch, but keeps the torch out. Thomas walks over to the window, and uses the butt of the torch to open the window, as he does not wish to disturb any physical evidence.

EXT. CITY STREET -- NIGHT

Down on the street level Paul's dead body is being removed. Thomas can be seen from this position looking at Paul's body being placed into the coroners ambulance, by two attendants.

INT. SMALL DARK ROOM (ORIGIN OF SHOT) -- NIGHT

As Thomas is looking out the window, there is the sound of footsteps coming slowly up behind him. Due to the window being open further there is more light in the room. As the sound of the footsteps gets closer to Thomas, Thomas turns around fast and draws his gun from his waist holster.

Don Lark is standing behind Thomas, Don is very shaken with the gun being pointed at him. When Thomas see's that it's Don behind him there is a look of relief that comes over him.

DON LARK
(apologetic)
Sorry boss! We're finished with the crowd. Nothing new. They only noticed the victim...

THOMAS FALLON
(slightly annoyed)
Paul Tyrell, or Mister Tyrell. Remember that we're the good guys, and not the killer.

DON LARK
(apologetic)
Sorry! The public only noticed that Mister Tyrell was acting odd, then he fell down.

Don walks over to the window, and stares down to where Paul was standing

DON LARK (CONT'D)
This killer, he's some shot! If we just could work out a pattern, or even how he picks his prey, but we have nothing, no leads.

Thomas walks to the door, he stops at the frame of the door, and then checks his watch. Thomas rubs his eyes, tiredness rolls over him. Don looks to Thomas.

THOMAS FALLON
(weary)
I'm going back to the task room. You and and the others help the uniforms get the street cleared, then head home.

DON LARK
Right! You going home tonight Sir?

Thomas looks to Don and smiles.

THOMAS FALLON
(jovial)
I'm more comfortable at the task room. Tell the others to be there at eight a.m., we are going to have to get more aggressive with this.

Thomas leaves. Paul takes another look out of the window and shakes his head in disbelief.

EXT. TELESCOPIC SIGHT NIGHT VISION -- MOMENTS LATER

Through the telescopic lens of the sniper rifle, Thomas is being watched by our killer. The scope then moves quickly up to where Don is still looking out the window.

BAD ELEMENT:INT. VIOLENT CRIMES UNIT TASK ROOM -- NIGHT

Thomas sits alone at his desk, it's cluttered with reports. The desk lamp is the only light on in the room. Thomas is reading a report. There is a knock on the door. The darkness beyond the desk lamp and the light behind the figure makes it hard for Thomas to recognize that it's Eddie.

THOMAS FALLON
Who's there?

EDDIE PARKER
Just another old man, who should be home in bed by now.

A smile crosses Thomas's face as Eddie walks up to his desk. Eddie is carrying a folder. As Eddie reaches Thomas's desk, Thomas has placed a bottle of Jack Daniel's and two glasses on his desk. Eddie takes a seat facing Thomas, Thomas pours the Jack Daniel's out into both glasses.

EDDIE PARKER (CONT'D)
(honest)
When was the last time you were home?

THOMAS FALLON
It was two days after Alex Jesop was killed.

EDDIE PARKER
The second kill. The one who didn't take part in this game?

THOMAS FALLON
Yep. What's in the folder Eddie?

Thomas and Eddie drink down there Jack Daniel's, Thomas fills the glasses back up. Eddie takes out the photo's that he took earlier. Thomas holds up his glass, Eddie joins in raising glass.

THOMAS FALLON (CONT'D)
I don't know what to give a toast to!

EDDIE PARKER
How about we toast to a speedy end to this hunt?

Thomas smiles, but only briefly, he then lowers his glass.

EDDIE PARKER (CONT'D)
(concerned)
What's the matter?

THOMAS FALLON
(lost)

EDDIE PARKER
(smiling)
That's no excuse to not be drinking my friend.

Thomas is pleased that Eddie has made light in the conversation. Thomas and Eddie laugh, while Thomas is still laughing, Eddie stops and looks at Thomas with caution.

EDDIE PARKER (CONT'D)
Thomas, you can tell me to mind my own business here, but, how are things with you and Robin?

Thomas takes a large drink of Jack Daniels before answering.

THOMAS FALLON
We're okay. I know I'm over protective of her most times. But she's the only family I've got.

Eddie knocks back his drink in one go.

EDDIE PARKER
(honest)
Give her more space, trust her in the job. If you don't, you'll hurt her. Just my two cents.

Eddie stands up from his seat, while Thomas is lost in thought.

EDDIE PARKER (CONT'D)
Well, I'm off home. The misses will freak if I leave it much later. Get some sleep mate.

Thomas looks up to eddie.

THOMAS FALLON
You're right Eddie!

EDDIE PARKER
About sleep?

Thomas smiles.

THOMAS FALLON
No. About Robin. It's time I let her cut her teeth. It's going to happen sooner or later.

Eddie nods, and starts to walk out of the room.

EDDIE PARKER
Goodnight old friend.

THOMAS FALLON
(tired)
Goodnight.

Thomas downs the rest of his drink as eddie leaves the room. When Eddie is gone Thomas turns to the map board, rubs his eyes and then turns back to the desk, and switches off the light.

EXT. HIGH CLASS APARTMENT BUILDING -- NIGHT

Through the night vision telescopic sight of the killers rifle, we see LOUISE ANDERSON, late twenties, very good looking, and wearing a business suit, getting out of a taxi. Louise is carrying a laptop briefcase. Louise closes the door of the taxi and heads to the main door of her building where the doorman opens the door for her. Louise enters the building out of the sight.

INT. LOUISE ANDERSON'S APARTMENT -- NIGHT

The Apartment is dark, though there seems to be some light and shadows coming from the kitchen. Louise enters the apartment and places her case down on a hallway table that is near the front door. As soon as she has closed the door behind her she sees the light in the kitchen, but the door is closed, meaning she can't see what is going on, on the other side. Louise picks up a heavy lamp from the hallway table and makes her way slowly towards the kitchen. Just as she's about to open the door to the kitchen she grips the lamp tighter. Gently her hand moves to the door and slowly she starts to push it open, then she moves quick and goes through the door.

INT. LOUISE ANDERSON'S APARTMENT KITCHEN -- NIGHT

Louise is standing at the doorway.

LOUISE ANDERSON
(agressive)
Move an inch and you're getting busted open.

A man, RYAN EWOOD, same age range as Louise, but dressed more casual, is at the kitchen cooker, making dinner, he turns and is startled by the violent and aggressive nature of Louise.

LOUISE ANDERSON (CONT'D)
Ryan? What are you doing here?

Louise relaxes some. Ryan is trying to regain his composure.

RYAN EWOOD
At the moment having shitting myself.

LOUISE ANDERSON
You, you scared me! Thought that you were at a meeting in London?

RYAN EWOOD
It got canceled. So I thought that I would do something that I've been putting off for a while.

Louise looks concerned and is still holding the lamp in a threatening manner.

LOUISE ANDERSON
You've been putting off scaring me half to death?

Ryan turns to the cooker and turns off the heat under what he is cooking. As Ryan faces Louise he removes a small velvet box from his trouser pocket, and holds it out to Louise.

RYAN EWOOD
No! I've been putting this off.

Ryan opens the box, where a diamond ring is laying on a small satin cushion. Ryan gets down on one knee and looks up into Louise's eyes.

RYAN EWOOD (CONT'D)
(honest)
You have make me happier than I've ever known. If you marry me, then I will work hard everyday of my life to make you as happy.

LOUISE ANDERSON
(emotionless)
I can't take that off you...
(beat)
... not until I put this down.

The lamp that Louise was carrying hits the ground as she takes the ring. As Louise slides the ring onto her finger Ryan rises off his knee and the two of them embrace, then kiss.

INT. VIOLENT CRIMES UNIT TASK ROOM -- MORNING

The five members of the V.C.U. task team, Don, Robin, Gabrielle, Paul, and Justin are at their respective desks, going about their paperwork, or reading files, though Paul seems to be reading the local tabloid newspaper, giving it plenty of interest. Paul is reading an article and then gives a loud laugh which distracts the others from their work.

Paul looks around at notices that he has everyone's attention, he then turns his attention back to the newspaper.

PAUL ARCHER
(mocking)
The man, believed to be at least the killers fourth victim was an honest gentleman, according to his neighbors. Such crap!

Justin gets up from his desk and goes over to Paul's desk.

JUSTIN EVERS
What's so funny?

Paul puts down his paper and looks directly and intently at Justin.

PAUL ARCHER
According to the neighbor's of each victim, they were as close to saints as possible, no one will speak ill of the dead.

Justin understands what Paul is saying and then turns back to his desk when Thomas comes through the doors of the task room. Thomas is tired, annoyed, and in a rush to get to his desk, underneath his breath he is swearing. Each member of the team give Thomas a worried glance. When Thomas gets to his desk he turns and faces the team, using the desk as a priest would use a pulpit to preach.

THOMAS FALLON
(loud)
Listen up. The only person who hasn't chewed my ass this morning about when we're going to catch this sniper was the Pope, each member of the Dail, the commish, the Mayor, and the guy who cleans the Mayor's car, have all asked when we're going to bring this killer down. It's overtime until we get him, dead, or alive.

Thomas takes off his jacket and sits down, each member of the team make their way up to his desk. Thomas looks to his team, waiting for suggestions.

DON LARK
That's easier said than done, we don't have much to go on.

Thomas concede's that Don is just pointing out the truth.

THOMAS FALLON
We're going to have to change tactics. We've visited every gun club, every lead followed.

Thomas swivels in his char and looks to the map, the team all wait anxiously.

THOMAS FALLON (CONT'D)
(mainly to himself)
We can't trace the next possible victim, unless we put a tab on every woman in the city.

Thomas takes the time and stares at each of the victims faces, in their death state it's as though he is waiting to hear them speak to him.

THOMAS FALLON (CONT'D)
This one, he's got to be lining up the next target now. He waits two days, then starts his games.

GABRIELLE HANLEY
Forensics have retrieved no finger prints, ballistics can't tell us the rifle make, and the bullets are home made, sprayed with Teflon. This one, he's intelligent, highly trained, organised and cautious.

Thomas turns to his desk and then faces his team.

THOMAS FALLON
Right, we'll run in ever lowlife that this city has ever prosecuted on weapons offenses, convicted or not. Question them, put the fear of God into them, then send them back onto the street.

DON LARK
Don't want to be rude, but what will that accomplish?

THOMAS FALLON
We need to do something, instead of sitting on our asses and then being called to another scene.

JUSTIN EVERS
Sir? I have a suggestion.

THOMAS FALLON
Go ahead Justin.

JUSTIN EVERS
Our killer isn't a piece of scum, he's cautious, and most likely a law abiding citizen in every other part of his life. We need to go back to those gun clubs, he had to develop this talent of his, and keep it sharp.

Thomas nods in agreement.

DON LARK
Right! We go back, and get the name of every member, past, present, and pending.

THOMAS FALLON
Then we research them, I want to know if they were breast fed as children.

Robin turns around and heads for her desk.

THOMAS FALLON (CONT'D)
Robin?

Robin turns around and faces Thomas. The team are all wondering what is going on.

THOMAS FALLON (CONT'D)
(to Robin)
You go with Don. It's time that Paul learned the sacred art of fine research.

Robin is shocked by very happy, though hides is badly. Paul is however, frustrated and annoyed.

ROBIN SHERMAN
Yes sir!

THOMAS FALLON
You all have your lists of gun clubs from before? Then you know what to do.

The team, bar Robin, disperse back to their desks, Robin goes closer to Thomas's desk. Don passes Robin.

ROBIN SHERMAN
(to Don)
Give me a moment?

Don nods and heads to his desk, Robin gets closer to Thomas's desk.

ROBIN SHERMAN (CONT'D)
(to Thomas)
Thanks Dad!

THOMAS FALLON
(happy)
Sorry that I've kept you behind a desk since your promotion. Anyway, Paul needs to cool his heels a little.

The rest of the team are out the door, except for Don, and Paul. Paul is sitting at his desk tapping keys at random on his computer. Don is waiting at the door for Robin. Robin turns from Thomas's desk and quickly grabs her coat, Don and Robin then leave the task room together.

EXT. POLICE STATION -- MOMENTS LATER

Don and Robin come walking out of the door of the police station and walk towards a large dark car. Don gets into the drivers side, and then Robin gets into the passenger seat.

INT. DON LARKS CAR -- MOMENTS LATER

Don drives the car out of the police station car park. As he drives along there is an awkward silence in the car, Robin is looking out the window as the car moves along.

DON LARK
You know, I'm glad that you're out from behind that desk, field experience is vital.

ROBIN SHERMAN
I'm sure that he had his reasons for keeping me there so long.

Don concentrates on the road as he continues to drive.

DON LARK
Listen, some tips. No Gun Club wants to be tied to a serial killer. So it's softly softly

ROBIN SHERMAN
Don't worry, I will just follow your lead.

A look of relief and control comes over Don.

ROBIN SHERMAN (CONT'D)
(mocking)
That is, until you mess up.

Don shakes his head, though a smile creeps onto his face.

INT. LOUISE ANDERSON'S APARTMENT -- MORNING

Louise comes out of her bed room, wearing a very comfortable robe or dressing gown.

Instantly her attention is brought to a note that is laying on the hall table, next to her keys. Worried and confused she picks up the note. It reads, 'THANK YOU, AND I LOVE YOU' and is signed with Ryan's signiture. Louise neatly folds the note and places it into a pocket of the robe. Louise smiles and turns to go back to her room, but a note is lying on the floor, the note had been pushed under the door to her apartment. Still smiling, and thinking that it's another note from Ryan, Louise bends down and picks up the note. As she rises she opens the note to find neatly typed words printed in a list. Louise takes a moment to read the note, then crumples it up and throws it onto the hallway table. A red laser point comes through the window and rests, unknowing to Louise, on her forehead. The red dot moves down Louise's head, keeping out of view from her, to her right ear, and a small break of glass is heard and a bullet clips Louise's ear. Quickly Louise raises her hand to her ear and feels the blood that has fallen from it.

LOUISE ANDERSON
Jesus!

Louise goes to a mirror that hangs in the hall and looks at her ear. Slowly Louise looks around and sees that there is a new hole in the wall behind her, where the bullet lodged. Louise goes over to the wall and feels the bullet hole.

EXT. KILLERS GUN SIGHT -- MORNING

The sight of the killers rifle is pointed now at Louise's head, through the site Louise is starting to look more and more terrified.

INT. LOUISE ANDERSON'S APARTMENT -- MORNING

Louise is looking around, fear gripping her face, she spots the hole in the window were the bullet came through, and now can see the laser sight tagging her. The phone rings, and slowly Louise moves and answers it.

LOUISE ANDERSON
(cautious)
Hello? Who is this?

KILLERS VOICE (O.S.)
(electronically distorted)
Feel your other ear.

Just before Louise raised her hand to her ear, another bullet comes through her window, in the same spot, and it grazes her other ear. When her hand is at her ear there is more blood. The laser sight is now resting on the fearful Louise.

LOUISE ANDERSON
Where are you?

KILLERS VOICE (O.S.)
(electronically distorted)
I've been watching you, I am watching you, right now.

Louise hangs up the phone, and instantly it rings again, Louise answers it.

LOUISE ANDERSON
(annoyed fear)
Hello?

KILLERS VOICE (O.S.)
(electronically distorted)
Louise?

Now, real panic has set in to Louise.

LOUISE ANDERSON
(scared)
How do you know my name?

KILLERS VOICE (O.S.)
(electronically distorted)
That is incidental. Put the phone down again and your brains will be all over your lovely carpet.

Scared, Louise looks around, she stares intently at the hole in her window, the one made by the bullet. Then she looks to the wall behind her to the holes in the wall were the bullets rested.

KILLERS VOICE (O.S.) (CONT'D)
(electronically distorted)
Good girl! Now pick back up the rules I left for you!

Louise goes and takes up the page with the neatly typed writing on it.

LOUISE ANDERSON
(scared)
What do you want?

KILLERS VOICE (O.S.)
(electronically distorted)
Just to play a game. Now, read the rules.

Louise holds the piece of paper that contains the rules closer to her face, her hands are shaking. Blood from her ears has left bloodstains on the robe.

KILLERS VOICE (O.S.) (CONT'D)
(electronically distorted)
Now, my new friend, so we're clear, you're going to read the rules aloud.

LOUISE ANDERSON
(shaking scared)
One; no Police. Two; constant phone contact. Three; we play until I fail. Four; we play from today. Five; if I fail or refuse I die. Six; you are always watching.

Tears are free falling down louise's face. Louise lets the note fall from her hand onto the floor.

KILLERS VOICE (O.S.)
(electronically distorted)
Are you willing to play?

LOUISE ANDERSON
(fear to aggression)
Of course I will!

KILLERS VOICE (O.S.)
(electronically distorted)
That a girl. Now, go get dressed, I've left a present for you in your mail box. You've got ten minutes. Oh, and Louise?

LOUISE ANDERSON
(angry)
What?

KILLERS VOICE (O.S.)
(electronically distorted)
Congratulations on your engagement, good wishes for the future.

Louise just lets the telephone drop from her hands. She turns quickly and goes into the bedroom.

EXT. KILLERS GUN SIGHT -- DAY

Through the telescopic sight of the killer's rifle, Louise comes distraught out of her apartment building. Louise has a hands free kit attached to her mobile phone, and the earpiece in one of her now bandaged ears.

INT. FALCON'S GUN CLUB SHOOTING RANGE -- AFTERNOON

The Shooting range is dark, at the other end of the range the targets are very brightly lit, the black mark that makes the target itself clearly visible. Robin walks along the shooters, all the shooting stalls are full, both men and women, of various shapes and sizes are shooting different type guns. Robin walks from the entrance to the range, down along the shooters, taking the time to pay attention to the shooters and their targets. When Robin is at the end of the line she turns back and walks to the door of the range.

INT. FALCON'S GUN CLUB MANAGERS OFFICE -- AFTERNOON

Don Lark is sitting waiting in the office, impatience is starting to grow on him. A burly man, late fifties, enters the room, it's JOHN TRAVIS the Manager. Although the man seems to be overweight he is really very strong. John is edgy and keeps one good eye on Don. John sits down at his desk facing Don, who hasn't got up to greet the man.

JOHN TRAVIS
You know, I told your people, after the first killing, that this fucker isn't from here, and never was.

DON LARK
(trying to be pleasant)
I know. I remember reading your statement, how you would take pleasure in killing this Capitalist bastard who thinks that he can kill anyone he chooses to.

JOHN TRAVIS
(happy)
Meant every word.

Don shakes his head and smiles. There is a knock on the door, John is about to get up when Robin enters the room. Instantly John stands up, which makes Don give a slight laugh, though it's disguised into his hand as a cough. Robin rolls her eyes at the gesture, and sits down next to Don. Once Robin is seated John also sits.

DON LARK
Mr. Travis, this is Junior Detective Robin Sherman.

JOHN TRAVIS
(honorable)
Ma'am.

Robin takes out a note pad, and a pen. Robin does not write anything down, rather she just places the items on her lap, waiting.

DON LARK
Have you any new members since the killings began?

JOHN TRAVIS
I'm required by law to hand over those names. We've just been backlogged.

John looks around his desk and finds a sheet of A4 paper and hands it to Don. Robin is confused.

ROBIN SHERMAN
You knew that we were coming! Otherwise you wouldn't have that list ready.

JOHN TRAVIS
(smiling)
I print up the list each time that the news says that there's been another killing.

Don nods his head, and then stands up. Robin, on the other-hand stays sitting down.

DON LARK
(polite)
Thank you for your time Mr. Travis, you have our number, call if you notice any of your members acting out of the ordinary.

Don opens the door to the office and is about to leave when he notices that Robin is still sitting down staring at John. This is making John feel very nervous.

DON LARK (CONT'D)
(to Robin)
Are you coming Detective?

ROBIN SHERMAN
In a moment. Mr Travis, do members of your family and friends own guns?

JOHN TRAVIS
(nervous)
Some of them!

ROBIN SHERMAN
Are they members?

John becomes more nervous. Don realizes the line of questioning that Robin is pursuing, and comes back into the office.

JOHN TRAVIS
They only use this place after hours. When we're closed. They don't need a membership for that.

DON LARK
Have their names been omitted from the lists that you've been providing to this investigation?

John looks to Don. Now to add to John's nervousness there is also confusion.

JOHN TRAVIS
Say what?

ROBIN SHERMAN
What he's asking sir, is have you been giving us complete lists of everyone's names.

JOHN TRAVIS
There would be no need. None of the people I know are killers.

Don smiles at Robin. Don gives her a nod and Robin takes up her note pad and pen, and then hands it to John.

ROBIN SHERMAN
Friends and family, their names and addresses. And any more non disclosure, and your license will be taken away.

John submits, takes the note pad and pen, and then starts to write down names, numbers, and addresses. While John is not looking, Robin turns to Don and gives him a wry little smile. Don is pleased.

INT. DON LARKS CAR -- AFTERNOON

Robin is sitting in the passenger seat, she is looking over the numerous names and addresses that John Travis provided her with. Don is concentrating on driving. Don stops at a set of traffic lights, and then turns to Robin.

DON LARK
Hey, good work back there. How did you think to ask that?

ROBIN SHERMAN
When I was sixteen, I worked in a bar, just collecting glasses, bottles. Extra pocket money. Anyway, at the end of the night the owner and the barmen, their friends, family, would stay after hours.

Don smiles, the traffic lights change and he starts driving again.

DON LARK
(joking)
Good work! Though if anyone asks, it was my idea.

Robin smiles, she knows that Don is joking, but that smile fades quickly and Robin looks out the window.

ROBIN SHERMAN
It might not lead anywhere, odds are that it won't. But we've got to say that we tried everything.

DON LARK
(mentoring)
Robin listen. You asked a question, that we never thought of. We've got names that we didn't have before, the rest doesn't matter. Each day you prove you belong on this team.

Robin, although she doesn't show Don, smiles, and then she turns her attention back to the list of names.

ROBIN SHERMAN
I wonder how Archer is getting on with the research.

INT. VIOLENT CRIMES UNIT TASK ROOM -- AFTERNOON

Paul is sitting in front of a computer screen on his desk. There is no one else in the room. Paul starts to tap his feet. Thomas walks in and then past Paul. Thomas turns back and stands in front of Paul.

THOMAS FALLON
Anything?

Paul looks at Thomas like he's a lost child in a carnival.

PAUL ARCHER
(apologetic)
Boss, nothing, though mostly because I don't understand this whole computer research thing.

Thomas smiles and takes a seat near to Paul. There is a major look of relief over Paul's face when he sees that Thomas is not mad at him.

THOMAS FALLON
This is a hard case to come in on. You're a good cop, this research will come to you in time.

PAUL ARCHER
You know, I got to thinking. We've checked the clubs, and the ex cons. What about military units or nut homes?

THOMAS FALLON
They're called Asylums. The military though? You think a soldier is using civilians for target practice?

Paul sits back in his chair, thoughtful. Thomas is in thought about what Paul has said.

PAUL ARCHER
(unsure)
It was just a suggestion!

Thomas stands up and walks over to his desk. When he gets to his desk he looks past it and to the map. A coy smile comes over the face of Thomas.

THOMAS FALLON
Paul? I think you should think more often.

PAUL ARCHER
(surprised)
Thanks! Is that a compliment?

Paul stands up and walks up to stand next to Thomas, now both men are looking at the map.

PAUL ARCHER (CONT'D)
(curious)
What did I do?

Now Thomas has a constant smile on his face.

THOMAS FALLON
Your military idea. Well almost.

Paul's curiosity is growing and also his confusion.

THOMAS FALLON (CONT'D)
If it's not someone who is in the military, it's someone who has had or is influenced by the tactics they use.

PAUL ARCHER
All the tasks are hard, this enables the sniper to set up a clear origin point for his shot, should the player fail.

THOMAS FALLON
(happy)
Right! When the team get back, use the uniforms to do the background checks. Paul you've earned a reprieve.

A look of relief comes over Paul's face.

PAUL ARCHER
Oh thank God for that. What are we going to do now?

THOMAS FALLON
What soldiers do best, we go to war.

Paul goes back to his own desk. Thomas gets his coat and puts it on, then Thomas walks to the door, but stops at Paul's desk.

THOMAS FALLON (CONT'D)
I'm heading home, got to check my mail. When the others get back, tell them to wait. I shouldn't be long.

Paul gives a mocking salute, but Thomas cannot see it, as his back is turned, when Thomas is out the door Paul looks to his computer screen and clicks the mouse.

PAUL ARCHER
(excited)
Hurray for free porn.

EXT. THOMAS FALLON'S HOUSE -- DAY

Thomas walks up his garden path towards the front door. The garden is misplaced among the other gardens, which seem to have more attention paid to them. Thomas puts his hand into his pockets and search for his keys. The keys are in the last pocket that he checks. Thomas picks out the front door key from the many on the plain key ring, he puts the key into the door and turns it. The door opens.

INT. THOMAS'S HALLWAY -- DAY

Thomas pushes open the door, he has to use extra pressure as there is a large amount of mail piled up at the base of the door. A small parcel is mixed in with the mail. Thomas closes the door behind him and then lowers himself down to pick up the mail. The parcel is the last thing that he picks up and he doesn't pay it much attention. Thomas walks through the hall and through the living room door.

INT. THOMAS'S LIVING ROOM -- DAY

Thomas comes into the living room and sits down on his couch.

Thomas places the parcel on the coffee table and goes through the envelope mail. Thomas creates two piles for the mail, Junk, and Bills.

THOMAS FALLON
(while shuffling)
Junk, bill, bill, junk, bill, junk, bill, bill.

When the envelope mail is sorted out, Thomas turns his attention to the parcel that is on the coffee table. The parcel is small, about the size of a large matchbox, it is covered with brown paper, with a computer printed label on its upside. Thomas picks up the parcel and it sparks a curious look from him. Thomas lowers his ear to the box's side, but does not hear a sound. Carefully Thomas places the box down and looks at the place where the postmark should be, but there is none, no postage at all. Thomas picks up a phone that is on the coffee table. He punches in a phone number while he continues to keep his attention on the parcel.

THOMAS FALLON (CONT'D)
(to Telephone)
Archer? It's Thomas, get the forensic boys and the team to my house. No questions, just do it.

Thomas places the phone carefully down on its receiver, without looking, and continues to stare thoughtfully at the parcel.

EXT. THOMAS FALLON'S HOUSE -- AFTERNOON

Don lark and Robin Sherman pull up quickly to Thomas's garden in their car, their stop is so sudden they leave a tire mark on the street behind them. Robin and Don exit the car and immediately take out there pistols. Don and Robin make their way, with stealth, to the front door of Thomas's house, both stand on either side of the door frame.

DON LARK
(whispered)
This is the first time that I've been here. Anything look out of place?

ROBIN SHERMAN
(whispered)
No. Are we going in?

Don nods his head. Robin and Don both cock their guns. Robin is about to move to kick the door in, when Thomas opens it suddenly. Robin and Don react by pointing their guns at Thomas. Thomas is unmoved by this, and shakes his head.

THOMAS FALLON
(mocking)
Gee, I feel safer already.

Don and Robin relax, taking a breath and then lowering their weapons. Gabrielle Hanley, Justin Evers, and Paul Archer arrive in the same car. The forensic men, two of them, dressed in their white coveralls come out of a van that arrives behind the rest of the team, and they walk up the garden and stop at Thomas.

THOMAS FALLON (CONT'D)
(to Forensics)
Inside, on the coffee table, a small parcel.

The two Forensic men walk into the house. Thomas comes out of the house totally and walks into his garden. Robin and Don follow him.

ROBIN SHERMAN
What happened?

THOMAS FALLON
Suspect parcel, no stamp, no postmark.

DON LARK
You think it's our guy?

Thomas looks at Don and nods his head. The two forensic men come out of the house and are carrying the parcel in a clear plastic bag. They walk past Thomas, who is now joined by Gabrielle, Justin and Paul. Gabrielle and Justin look around the garden, Paul goes into the house. Thomas turns to Gabrielle and Justin.

THOMAS FALLON
Until we get the report back on the parcel, it's a dead end. How did you get on?

GABRIELLE HANLEY
We got a name. We were about to check it out when we got the call to come here.

Thomas turns to Don.

DON LARK
We were getting nowhere, but Robin managed to pry a fresh list from one gun club owner. We'll be working on that.

Thomas gives Robin a quick smile, which makes Robin smile also.

JUSTIN EVERS
If you're alright, we'll go and check out this name.

Thomas gives a worried look.

THOMAS FALLON
(cautious)
Do a background check first. If the parcel is from our man then he knows how to find us.

Don, Robin, and Gabrielle all nod in agreement with Thomas. Justin looks unhappy, though Thomas does not notice. Gabrielle and Justin go to their car and drive off. Thomas turns back to Don and Robin.

THOMAS FALLON (CONT'D)
(worried)
Do an indepth search on all names on your new list, and make sure you do it before you go and talk to them.

Paul comes out of the house with a can of soda and a sandwich. Don and Robin smile at Paul, while Thomas gives Paul a look of disbelief. Don goes and starts off towards his car. Robin stays in front of Thomas. Robin looks worried.

ROBIN SHERMAN
I thought, when the call came, I thought something had happened to you.

Thomas smiles, and reaches out with one hand and places it on Robins forearm.

THOMAS FALLON
I know. The business that we're in, it's a hazard. You've got to thrust that I'll be fine, as I have to trust that you will.

Robin smiles. Thomas brushes the hair out of her face. Robin moves off to Don at the car. Thomas looks to Paul and smiles. Paul is finishing his sandwich.

INT. VIOLENT CRIMES UNIT TASK ROOM -- EVENING

Gabrielle and Justin come into the Task Room. Gabrielle goes straight to her desk. Justin walks past his desk, which is next to Gabrielle's, and to the map which has the pictures of the victim's attached to it. It takes Gabrielle a moment to notice Justin. Justin stares at the map, looking at each of the faces. It is clear that Justin is annoyed.

GABRIELLE HANLEY
(understanding)
You know looking at that map won't help?

JUSTIN EVERS
(turning to Gabrielle)
He have a lead, it's more than we have had, and we're pushing papers.

Gabrielle's expression shows that she is getting annoyed by Justin.

GABRIELLE HANLEY
We are being cautious.

JUSTIN EVERS
We're worrying about our own safety, and forgetting that we are here to protect and serve.

GABRIELLE HANLEY
What good will it do if we rush into something, and get our heads blown off?

Justin shakes his head, dismissing what Gabrielle has said. Don and Robin come in and go to their desks. They are closely followed by Thomas and Paul. Paul goes to his desk, while Thomas goes to the map. Thomas stands beside Justin, the two of them do not aknowledge each other, until Thomas looks to Justin.

THOMAS FALLON
What is on your mind?

Justin shakes his head and then turns to face Thomas.

JUSTIN EVERS
Nothing Sir.

Justin moves and goes to his desk. Thomas moves behind his desk, and is about to sit down, when he stands straight and faces everyone.

THOMAS FALLON
(loud)
Okay. Prelim's on the parcel, it was our man. Forensics with send up the contents the moment they are done.

Each member of the team, apart from Thomas, look at each other nervously.

THOMAS FALLON (CONT'D)
(loud)
We now have to presume that he knows our addresses, and everyone at them may be a target. Ring home, get everyone there out.

Every member of the team, bar Thomas and Robin, pick up the phones on their desks. Robin walks up to Thomas. Thomas gives Robin a nervous smile.

THOMAS FALLON (CONT'D)
Not ringing your mom?

ROBIN SHERMAN
She's away, on one of her many business trips.

Thomas looks over his team.

THOMAS FALLON
How do you think they are holding up?

Robin smiles.

ROBIN SHERMAN
A good General always looks after his troops.

THOMAS FALLON
I just want to make sure that everyone's one hundred percent. They can't afford not to be.

ROBIN SHERMAN
Once they get their families sorted, they'll give it their all.

Thomas frowns.

THOMAS FALLON
I just hope that their all is enough this time.

INT. FITNESS CLUB -- NIGHT

The well equipped fitness club is almost empty. Two staff members are at the door/exit. The Male member of staff is looking at his watch, and seems aggitated. Pver by a window, looking out onto the darkness, Louise Anderson is running at a steady pace on a thread-mill. Louise looks worn out. The Female member of staff walks from the door/exit to Louise's thread-mill. Before the Female member of staff reaches Louise, Louise's cell phone goes off, Louise has a hands free kit and answers the phone. The Female member of staff backs off, annoyed.

LOUISE ANDERSON
(exausted)
Yes?

KILLER (O.S.)
(electronically distorted)
You've done well, 13 hours non stop.

Louise hits the controls of the thread-mill and the machine starts to slow down to a complete stop. Louise stands at the base of the thread-mill and catches her breath.

EXT. NIGHT VISION TELESCOPIC SIGHT -- NIGHT

The Night Vision from the Killers telescopic sight shows Louise standing at the base of the thread-mill panting. The sight moves in closer to Louise's face.

LOUISE ANDERSON
(exhausted)
What now?

KILLER (O.S.)
(electronically distorted)
Have a shower, I won't watch. You have two minutes, then I call again.

The Night Vision sight follows Louise as she moves across the floor to a doorway.

EXT. FITNESS CLUB -- NIGHT

The Male and Female members of staff wait outside the door of the fitness club, they are dressed warmly, it's a cold, clear night. Louise comes out of the Fitness club wearing a light jacket, and carrying a small bag. Louise still has the hands free kit in her ear. Louise walks over to a WV Beetle, there are a few other cars in the parking lot of the fitness club. The phone rings.

LOUISE ANDERSON
(aggitated)
What now?

KILLER (O.S.)
(electronically distorted)
Wait in your car for the two staff to leave. The you can get comfortable, sleep, you've earned it.

Louise looks around the car park, a look of worry falls over her face.

LOUISE ANDERSON
(worry)
What? Here?

KILLER (O.S.)
(electronically distorted)
You'll be quite safe here, I'll be watching.

LOUISE ANDERSON
(frustrated)
I thought you said safe. Why are you doing this?

KILLER (O.S.)
(electronically distorted)
Goodnight Louise!

INT. VIOLENT CRIMES UNIT TASK ROOM -- NIGHT

The room is quiet, all the team are there, all looking very tired. Thomas is reading through a newspaper. A young uniformed police officer comes into the task room, he is carrying a plastic evidence bag. The Officer brings the bag, which contains the parcel that was taken from Thomas's house earlier, straight to Thomas. Thomas looks up from his newspaper to the officer.

THOMAS FALLON
Thank you officer. You can leave it on the desk.

The officer places the bad on Thomas's desk, turns and leaves the task room. Thomas takes the contents out, he opens the parcel and takes its contents out, an audio tape, and a bullet fall out onto Thomas's desk. Remaining in the bag is a folded A4 piece of paper, Thomas shakes this paper out of the bag and onto his desk. Gabrielle Hanly walks over to Thomas and picks up the long rifle bullet that is next to the tape. Thomas starts to read the report to himself, and after a moment of reading he sighs, and looks to his team.

THOMAS FALLON (CONT'D)
(loud)
Okay boys and girls! Gather round!

The rest of the Team make their way around Thomas's desk. Justin drags his heels, but gets there in the end. Gabrielle puts the bullet down on the desk.

THOMAS FALLON (CONT'D)
No prints. The tape had a voice, but it's distorted electronically. They're making some copies for you.

THOMAS FALLON
ID was made by ballistics, the bullet is the same as those used on each victim.

Thomas puts the sheet of paper down. Thomas takes the audio tape and puts it into the tape player.

KILLER (O.S.)
(electronically distorted)
Hello Mr. Fallon, Ms. Hanly, Mr. Lark, Evers, and Archer, last and by no means least, your lovely daughter, Robin.

Thomas gives Robin a nervous look, then he turns away, his attention back on the tape as though the Killer itself was sitting in front of him.

KILLER (O.S.) (CONT'D)
(electronically distorted)
By now you have realized that I'm smarter than your average Killer. You must spend hours wondering how I pick my targets. Well I'm going to make things easier for you, Lord knows I have to. When my present playmate loses her game, one of you will be chosen to play.

The team look at each other in disbelief. Justin is more enraged.

KILLER (O.S.) (CONT'D)
(electronically distorted)
Now, I've got to get back to my lovely playmate. Talk soon my friends. Good hunting.

The tape stops. There is an awkward silence between the team. Thomas goes over and takes the tape out of the player. When Thomas looks back to his team he is worried at what he sees. The team don't know what way to react. Justin though is more angry than the others.

JUSTIN EVERS
(anger exploding)
Son of a bitch!

PAUL ARCHER
(mocking)
Guess we can add threatening the lives of police officers to that list of charges.

Paul's joke lightens up the mood in the room, it even draws a simple smile from Thomas, though not from Justin.

THOMAS FALLON
This goes without saying, we're going to have to be careful. Uniformed police officers are going to be assigned when we're outside.

GABRIELLE HANLEY
What are we going to do about this threat on our lives?

PAUL ARCHER
(mocking)
Well, I'm planning on panicking, don't know about you?

THOMAS FALLON
(amused)
Paul, enough. We can't do anything about it until it happens. You all heard about the 'lovely lady' that was referred to, she is our priority.

Justin is getting more and more frustrated, and Thomas notices this.

THOMAS FALLON (CONT'D)
Right! Lets get back to work people. Justin? A word?

The rest of the team flow back to their desks. Thomas sits down, and Justin sits in front of him.

THOMAS FALLON (CONT'D)
There is something on your mind Justin. What's going on?

Justin pulls his chair in closer to Thomas's desk.

JUSTIN EVERS
(annoyed)
I've just a problem with scum threatening the lives of police officers.

Thomas listens carefully, deep down he feels the same.

THOMAS FALLON
(understanding)
You have to control those feelings. We find serial killers, some are more difficult to deal with, this one seems to be the hardest. We adapt, and bring them in, that's our job.

Justin sits back in the chair, he's finding it hard to come to terms with the situation.

THOMAS FALLON (CONT'D)
(hard)
Tell me now if I need to replace you?

Justin is in shock, Thomas is non-responsive.

JUSTIN EVERS
Why would I want you to transfer me?

Thomas now leans forward, and he rests his elbows on the desk.

THOMAS FALLON
Justin, you are a good detective, you have a good mind. But a good mind, a good detective, is useless if he can't control his feelings.

Justin takes a deep breath, he seems to relax a little.

JUSTIN EVERS
You don't have to transfer me. I'll keep my feelings in check.

THOMAS FALLON
It's good to care, you just have to separate.

Justin stands up and is about to go back to his desk when he turns back to Thomas.

JUSTIN EVERS
(hopeful)
You really think that I'm a good detective?

THOMAS FALLON
(jesting)
No! Just some shit to say to get your ass in motion.

Justin gives a big grin, and continues back to his desk. Don walks up to Thomas's desk, Paul is passing by at the time.

DON LARK
(inspired)
I've got an idea. This one puts his victims through some game, right? So we just have the uniforms stop anyone who is acting strange.

Paul gives a laugh which attracts the attention of Thomas and Don.

THOMAS FALLON
You got something to say Paul?

PAUL ARCHER
I don't mean any disrespect to you Don. But this is Dublin, if the uniforms stop everyone who acts strangely, we'll be inundated.

Don gives Paul a dirty glance, Paul doesn't like the look, it makes him nervous and uncomfortable, Paul goes back to his desk.

THOMAS FALLON
(comforting)
Don?

Don looks back to Thomas.

THOMAS FALLON (CONT'D)
There are no stupid ideas. Seeing how we are short on ideas at the moment, it was worth the effort.

INT. LOUISE ANDERSON'S CAR -- DAWN

Louise is asleep in the back of the car. She is wrapped up in her coat. Louise looks as comfortable as someone can be in such a tight space.

EXT. FITNESS CLUB -- DAWN

An Elderly SECURITY GUARD walks up to the window of Louise's car and peers inside. He spots Louise asleep in the back of the car, and then he starts to tap on the glass, which stirs Louise.

SECURITY GUARD
(annoyed)
Hey! This isn't a fucking camp site. You've got ten minutes, move it.

The Security Guard walks away, still angry.

INT. LOUISE ANDERSON'S CAR -- DAWN

Louise is starting to wake, she is irritated, and still tired. The hands free kit is still in her ear. Louise tries to stretch as much as she can in the back of the Beetle. The phone rings.

LOUISE ANDERSON
(unaware)
Hello?

KILLER (O.S.)
(electronically distorted)
Good morning Louise. I trust you had a pleasant nights sleep. I did let you sleep in.

Louise starts to realize her situation.

KILLER (O.S.) (CONT'D)
(electronically distorted)
To make up time, we're going to have to work a little harder today. Make your way to Marlay Park, in Rathfarnham. In the bushes near the gate you'll find a fresh battery for the phone. Then wait for instructions. Now go!

The phone goes dead. Louise climbs into the front seat. Once in the seat, Louise wipes the sleep from her eyes and then turns the key in the ignition.

EXT. FITNESS CLUB -- DAWN

Louise's car drives slowly from its space to the exit of the car park. The security guard gives a slight wave of his hand to Louise as she is pulling out. But Louise doesn't return the wave. The Security Guard is disappointed in this and looks at Louise's car as it drives away.

SECURITY GUARD
Young people, you'd swear that they had the weight of the world on their shoulders.

INT. VIOLENT CRIMES UNIT TASK ROOM -- MORNING

At the Fax machine, Robin stands, a fax is coming through. It has a short list of names and addresses. Robin takes the sheet of paper. Robin looks tired and is wearing the same clothes that she wore the day before. Through the door, Paul enters. Paul is carrying a tray of take out coffee, enough for all the team, there are some Danish on the tray as well. Paul is happy, and looks well rested, Paul is also wearing clean clothes. Paul is whistling a happy, upbeat tune. Robin is looking at Paul as though he has two heads. Paul puts the take out coffee and Danish on a desk close to the main door of the Task Room, he looks to Robin, and is puzzled at why he is getting the strange look.

PAUL ARCHER
(curious)
What? What's wrong?

Paul checks to see if his zipper is undone, which it is not.

PAUL ARCHER (CONT'D)
You want coffee? A Danish? They're fresh!

ROBIN SHERMAN
(dumbfounded)
You went home last night?

PAUL ARCHER
Yes? And?

Robin walks over and takes a cup of coffee.

ROBIN SHERMAN
You have some neck, you heard the killer threaten us, and yet you went home anyway. Brave, an idiot, but brave.

Paul shrugs, and is genuinely not bothered.

PAUL ARCHER
Actually, he said that after he was through with his present game he would come after us.

Paul takes a large bite out of a Danish.

PAUL ARCHER (CONT'D)
And I thought that since we don't have a body. Anyway there's five of you who could all be the targets. The odds were in my favor.

Robin can't believe Paul's reasoning, but it does bring a smile to her face. The rest of the team come in, all looking tired and wearing the same clothes they had on the day before. Thomas is the last one in the and he does not look happy. The team take their coffee's from the tray as they come in, but most pass on the Danish. Thomas passes on both.

THOMAS FALLON
(to Paul)
Since you like to live dangerously, you can go with the officers and pick up some belongings for everyone.

All the team, bar Thomas, throw their keys to Paul, Paul isn't happy about his assignment. Once Paul has everyone's keys, he takes the last of the Danish, like a spoilt child and then leaves.

THOMAS FALLON (CONT'D)
(loud)
I don't want the rest of you to take chances like that, and I know

THOMAS FALLON
that this is going to be hard. But I'm not going to make it easy for our loathsome friend.

The team all go to their desks and start to get down to work. Robin walks over to Don with the fax that she received earlier.

ROBIN SHERMAN
Guess who sent the rest of the list of names of non-members.

DON LARK
That was quick, Mr. Travis must be worried.

ROBIN SHERMAN
(smiling)
All it takes is a woman's touch.

DON LARK
Yeah, the subtle touch of a woman with the legal use of a firearm.

Robin gives Don another smile, this one more coy. Robin looks at the list.

ROBIN SHERMAN
It's not that long, we should get them done before lunch.

Thomas walks up behind Robin, and peers over her shoulder.

THOMAS FALLON
I don't want any of you going out without backup. Run the names, check for priors. Our man probably has something in his past that's why he's being careful about forensics.

Don nods in agreement. Thomas makes his way up to where Gabrielle and Justin's desks are. Thomas sits down between the two desks. Justin and Gabrielle stop what they are doing and give Thomas their attention.

THOMAS FALLON (CONT'D)
That lead you got, you checked it out yet?

GABRIELLE HANLEY
Yeah, no previous, no registered handguns or rifles, unemployed and on income support. Lives in a bedsit, rent is paid by social services.

Thomas shakes his head.

THOMAS FALLON
Doesn't sound like our man. Take half the list from Don and Robin...

Justin sits forward.

JUSTIN EVERS
Wait! That's it? We should at least go and interview him in person. It could be a false set up.

Thomas sighs and gives Justin a disappointed look.

THOMAS FALLON
(trying to be calm)
We talked about this last night Justin. We have to error on the side of caution.

JUSTIN EVERS
So, we sit in here and push paper, because some psycho makes a threat, I think you are wrong.

Gabrielle can't believe what Justin has just said, and instantly Justin knows that he has gone too far. Thomas does not move his eyes off Justin.

THOMAS FALLON
(calm)
Gabrielle, will you excuse us for a moment?

GABRIELLE HANLEY
Sure!

Gabrielle gets up and walks away from the desk. Justin looks to Thomas.

JUSTIN EVERS
(apologetic)
I'm sorry, didn't mean to go...

THOMAS FALLON
(calm authority)
Shut up! You ever again talk to me like that in front of another member of this team, and I will have you giving lectures to teenagers for the rest of your career. Understand?

Thomas doesn't wait for an answer, he gets up, and goes back to his own desk. Justin has the look of a rebellious teen who knows that he has gone too far. Once Thomas has left, Gabrielle comes back over and sits down, she gives Justin a stern look. Justin is ashamed of himself, but also disgusted at being talked to like that from Thomas.

The task room goes back to being busy, as everyone goes back to their computers.

EXT. MARLEY PARK FRONT ENTRANCE -- DAY

Marley park is a large public park. At the front entrance there are some overgrown bushes. Louise Anderson comes out from behind the bushes, her hair is tossed around, as she comes out of the bush she is replacing the battery in the mobile phone. As soon as the battery is replaced in the phone it rings. Louise answers it.

KILLER (O.S.)
(electronically distorted)
Good! You've found it. Now for your second challenge.

Louise lets out a deep exhausted sigh.

KILLER (O.S.) (CONT'D)
(electronically distorted)
We've tested your physical abilities, you passed. Now its time to lest your mental agility.

Louise looks around to possible locations that the killer may be, some people are walking around talking on Mobile phones. Frustration appears to have fallen on Louise.

LOUISE ANDERSON
(tired)
Why are you doing this to me?

KILLER (O.S.)
(electronically distorted)
You know, I would answer that but we're on the clock. Back to your car. Head towards the city centre. I'll call again when you are closer.

The line goes dead as Louise walks towards her car. Louise is finding it harder to control her emotions. Louise makes it back to her car.

INT. LOUISE ANDERSON'S CAR -- DAY

Louise drives her car back toward the city centre. Tiredness is clearly shown in her face. Louise has once again the hands free kit for the mobile phone in her ear. The phone rings.

KILLER (O.S.)
(electronically distorted)
Louise? Head to the VCU Headquarters.

INT. VIOLENT CRIMES UNIT TASK ROOM -- DAY

Each member of the team is busy at their desks doing their paperwork. Thomas is sitting down at his desk and staring at the map, a look of complete frustration comes over his face. Thomas stands and goes to the window, he looks out the window, down to the parking lot.

EXT. KILLERS GUN SIGHT -- DAY

The crosshairs of the telescopic sight are focused squarely at Thomas staring out the window. The sight moves down to focus on the parking lot, Louise's car comes into the car park and stops in one of the parking spaces.

INT. LOUISE ANDERSON'S CAR -- DAY

Louise puts on the hand break of the car. Outside in the parking lot, she can see many uniformed police officers going about their business. There is a strange uneasy feeling in her, her face is conflicted as the phone rings and she answers the call.

KILLER (O.S.)
(electronically distorted)
Louise?

LOUISE ANDERSON
(aggitated)
Why am I here? I thought you said no police?

KILLER (O.S.)
(electronically distorted)
I also stated that you were to do everything I asked. Correct?

LOUISE ANDERSON
(resigned)
What do you want me to do?

KILLER (O.S.)
(electronically distorted)
It's simple, Louise, in that building there is a detective called Thomas Fallon. All I want you to do is find him.

LOUISE ANDERSON
(relieved)
That's it? You just want me to find this Thomas Fallon?

KILLER (O.S.)
(electronically distorted)
You stand in front of him at a window. Then you are free to go.

Louise closes her eyes, and forces a smile, the phone goes dead. Louise opens the door of the car and gets out.

INT. VIOLENT CRIMES UNIT TASK ROOM -- DAY

Each member of the team is now eating their lunch at their desks. Justin though is picking at a salad while still working on the computer. Thomas is still standing at the window. The door of the task room opens and Louise enters. Louise looks to the team members, who are eating. Louise walks past them as they give her odd glances, and she walks up to Justin. Thomas is moving to his desk, paying no attention to Louise. Justin manages to steal a moment from his computer monitor to look at Louise.

JUSTIN EVERS
(courteous)
Can I help you miss?

Louise looks around the task room, looking and feeling like a lost little girl.

LOUISE ANDERSON
(stumbling)
I'm looking for a Thomas Fallon.

Thomas hears his name and gives Louise a curious glance. Justin just points to Thomas. Louise looks over to Thomas. Thomas takes a step to Louise, and Louise moves slowly towards Thomas. They now are standing face to face in front of the window. Each member of the team is now staring at Louise.

EXT. KILLERS GUN SIGHT -- DAY

As Louise stands in front of Thomas the crosshairs of the telescopic sight are squarely on Louise's head.

INT. VIOLENT CRIMES UNIT TASK ROOM -- DAY

Louise stands in front of Thomas. Louise is almost relaxed. The rest of the team is still showing their interest in Louise. Thomas just looks worried.

THOMAS FALLON
Can I help you?

LOUISE ANDERSON
He told me to find you, then I would be free. You are Thomas Fallon?

THOMAS FALLON
(curious)
I am. Who told you to find me?

Louise looks at the map, which had pictures of the previous victims. A look of complete horror comes over the face of Louise. The look of horror eases and a peaceful smile comes to her mouth.

LOUISE ANDERSON
You know who. Remember he's always watching.

There is a sound of glass breaking gently, and a spray of blood flies across Thomas's face. Now it's Thomas's face who shows the horror. Louise's lifeless body flops to the floor. A bullet hole in her neck at the position of the jugular causes her blood to flow everywhere. When Louise's body fall to the floor the team react by getting down low. Thomas remains standing, looking down at Louise's body. Robin, carefully but quickly makes her way up to Thomas, Robin, like the rest of the team, has her firearm out and ready to fire. When Robin gets to Thomas she harshly pulls Thomas down to the floor. There is blood everywhere. Thomas snaps out of his terror stricken trance and reaches for his firearm.

ROBIN SHERMAN
Dad? Are you hurt? Dad?

Thomas gives Robin a caring but distant look. Louise's phone starts to ring. Thomas, while staying low, moves over the Louise's body and takes the phone from her pocket, and he answers.

KILLER (O.S.)
(electronically distorted)
This one asked too many questions, you can all stand up. Two days and one of you six will be chosen. Until then take care.

The phone goes dead. Thomas slowly rises to his standing height. The rest of the team come out of their hiding places.

THOMAS FALLON
(to team)
Lets get to work, call forensics, coroner, and someone get Eddie. Then...

ROBIN SHERMAN
(worried)
And then?

Thomas turns to Robin. Thomas has a look of pure commitment to his cause on his face.

THOMAS FALLON
(serious)
Then we bring in everyone who's ever touched a gun. This ends.

The team, bar Robin and Thomas, all leave the task room with a purpose. Robin moves closer to Thomas, but Thomas is only paying attention to the lifeless body of Louise.

EXT. ROOFTOP FACING VCU HQ -- EVENING

The flat top roof, a small wall surrounds the edge, to stop someone from falling over. Police tape is around the edge that faces the VCU Headquarters, the point in which the Killer used for taking the shot. Thomas, still shaken, walks slowly to the tape and bows under it, then takes a step forward. Thomas looks across to the window of his task room. It's close, but far away enough for the Killer to go unnoticed. Thomas looks around the ground, off to one side is a couple of shoe prints made in the gravel. The shoe prints lead to a fire escape ladder. The line the footprints take is also marked off by police tape. Eddie walks up slowly to Thomas. Thomas is expecting him.

THOMAS FALLON
I take it Robin sent you here to talk to me?

EDDIE PARKER
I was coming to talk to you anyway, we're both worried about you Thomas.

THOMAS FALLON
(smiling)
The wealth of the world is mine, people care about me.

Staying out of the police line enclosure, Eddie steps forward closer to Thomas. Eddie takes out a small bottle of whiskey from his inside pocket and takes a quick swig from the bottle. Eddie does not hold the bottle out to Thomas.

EDDIE PARKER
You off duty yet?

THOMAS FALLON
(looking at his watch)
I've been off now for three hours, but I'll pass on the drink.

Eddie puts the bottle back in his inside pocket, Thomas gives Eddie a mocking grin.

THOMAS FALLON (CONT'D)
Anyone ever tell you that you drink too much?

EDDIE PARKER
(shrugging)
You see what we see, day in, day out, alcohol is going to be the least of our worries.

Thomas smiles again and steps out from behind the police tape. Thomas looks over the footprints one last time, Eddie also shows interest in the footprints.

EDDIE PARKER (CONT'D)
That's the most physical evidence that you've got on this one, he's either getting brave or sloppy.

THOMAS FALLON
(sad)
Neither, he just wants us to make the game more interesting for him.

Thomas and Eddie walk off towards the rooftop exit.

EXT. VIOLENT CRIMES UNIT CAR PARK -- EVENING

Gabrielle runs from the main door of the VCU building to a car near the door. The car is Justin's, the engine is running and Justin is sitting in the drivers seat.

INT. JUSTIN'S CAR -- EVENING

Justin is sitting in the drivers seat of his car, and he is nervous. Gabrielle enters the car and sits in the shotgun seat, Gabrielle puts on her seat belt as soon as she sits down. Gabrielle looks over to Justin.

GABRIELLE HANLEY
Relax. We've got two days, we've caught them in less time.

JUSTIN EVERS
(accepting)
I know. What do you say we call on this lead?

Gabrielle slowly shakes her head.

GABRIELLE HANLEY
We should just go, get the food and get back to the office.

Justin looks frustrated, Gabrielle notices and then smiles at him.

GABRIELLE HANLEY (CONT'D)
But, I don't see the harm in asking a few friendly questions.

Justin smiles, puts the car into gear and then starts to drive off.

EXT. VIOLENT CRIMES UNIT CAR PARK -- EVENING

Justin's car pulls out of it's parking space, and then exits the main gate of the car park.

EXT. RUN DOWN APARTMENT BUILDING -- NIGHT

It's raining now. Justin's car pulls up to the front of the building. Justin and Gabrielle step up out of the car. Gabrielle walks around the car to where Justin is standing.

GABRIELLE HANLEY
(sarcastic)
Nice place to live. Almost makes the station dorm's look good. Almost.

Justin steps forward and walks to the entrance of the apartment building, Gabrielle follows him.

INT. RUN DOWN APARTMENT BUILDING -- NIGHT

The forth floor hallway. Gabrielle is first up the staircase, Justin follows her, both are a little tired from walking up the stairs.

JUSTIN EVERS
(tired)
These slums. Once the lift breaks down, the landlord puts off repairing them as long as possible.

Gabrielle gives Justin a look which holds some friendly anger.

GABRIELLE HANLEY
(impatient)
Which apartment is it?

Justin looks up and down the dimly lit hallway, checking the numbers on the doors. He points to his left.

JUSTIN EVERS
Down there 4A. Just a few friendly questions.

GABRIELLE HANLEY
Don't lose your calm. He's just another suspect. Okay?

Gabrielle and Justin turn in the direction of the Apartment.

INT. APARTMENT 4A -- NIGHT

The dark figure of the Killer is at a desk, the Killer is wearing protective glasses and is dressed in black. The only light in the Apartment comes from a small desk lamp which points away from The Killer.

The Killer is preparing sniper bullets, carefully. There is a monitor showing the hallway outside the apartment. The image of Gabrielle and and Justin appears. The Killer, identity not shown, looks at the monitor and then finishes the bullet that is being worked on. The Killer then rolls up a number of finished bullets in a black cloth. The Killer stands up, and walks to the door. The Killer takes a pistol with silencer that hangs on the back of the door. There is a knock on the door, the Killer fires two shots through the door at different points. From the outside you can hear two thumps of two bodies hitting the floor. The Killer opens the door.

INT. RUN DOWN APARTMENT BUILDING -- NIGHT

Justin lies down on the ground bleeding to death. Gabrielle is already dead. The killer comes out of Apartment 4A. Justin looks up and through the pain he manages a look of anger at the Killer. The gun raises in the hand of the Killer and a shot is fired into Justin's head. The Killer then runs to the stairs, keeping hold of the firearm, all the time keeping the identity hidden. The door to Apartment 4B opens and the occupant JESSICA STEMS, an elderly lady comes out in her dressing gown Jessica is looking to see what the noise is, she looks at the wall were the blood is sprayed and then down to the dead bodies of Gabrielle and Justin.

JESSICA STEMS
(shock)
Oh My God!

Jessica is panicking and her scream alerts the other residents of the floor, who all come out to see the scene on their floor.

INT. VIOLENT CRIMES UNIT TASK ROOM -- NIGHT

Thomas is on the phone and is in total shock. Robin, Don, and Paul start to come up to Thomas's desk.

THOMAS FALLON
(on phone, sad)
Right! No, I'll call the families, they were my people.

Thomas puts the phone down, he is very sad. Don, Robin, and Paul are standing in front of him, they are very anxious.

THOMAS FALLON (CONT'D)
(sympathetic)
Now. We've got a tragedy on our hands. Justin and Gabrielle have been killed in the line of duty.

DON LARK
(trying to be strong)
How? Where?

There is a lot of sadness in the room.

THOMAS FALLON
They were following a lead. Seems that it was a hot one. Get your gear, we've got a scene to process.

The team all go the their desks and get their coats and weapons, they all try to be professional. Thomas looks over to the desks of Gabrielle and Justin, sadness and anger conflict him.

INT. RUN DOWN APARTMENT BUILDING -- NIGHT

The crime scene is sealed off. The neighbors of 4A are at the staircase, all whispering the concerns they have. Police tape is being put up to stop contamination. Justin and Gabrielle's bodies are have been moved, but the places where their bodies fell is marked with white tape and soaked in blood. Thomas, Don, Robin, and Paul come up the stairs. The are sad, but also convicted to their jobs. Thomas is the first under the tape to the crime scene. The others, Don, Robin, and Paul wait behind the tape. Thomas looks at the taped outlines of where Justin and Gabrielle fell. There is less blood where Gabrielle had fallen, but Justin's spot is covered in blood. Thomas turns and looks at the half open door of the Apartment 4A. Thomas puts on white rubber gloves.

THOMAS FALLON
(to team)
Put your gloves on. The forensic boys have been in and out, but we still have to preserve the scene.

The team all go under the tape, follow Thomas, and as they do they all put on white rubber gloves. Don, Robin, and Paul stand behind Thomas as Thomas enters the Apartment 4A.

INT. APARTMENT 4A -- NIGHT

Thomas turns on the lights, with the switch in the hallway. When the lights come on, the walls are shown to be covered totally with pictures of all the victims, while they were alive. The Team follows Thomas in, all members, including Thomas are in a strange kind of Awe.

PAUL ARCHER
He is one sick puppy, but he does his research.

THOMAS FALLON
(distant)
Uniforms talked to the landlord, says he gets paid cash, and always on time. But never sees anyone deliver it.

INT. APARTMENT 4A DESK AREA -- NIGHT

Thomas comes into the living room. Though there is little that is comforting about this room. Once again the walls are covered with various pictures of the victims. The only items of furniture in the room is a basic desk chair and a large desk area, which holds the bullet making equipment, there is very little though. Robin enters the room, Thomas turns to her.

THOMAS FALLON
Well? What do you think?

Robin surveys the room more closely, paying attention to the photos.

ROBIN SHERMAN
I doubt that this is his home. More of a stop gap. He probably has a normal place that he lives in when he's not out killing innocents.

THOMAS FALLON
Agreed. This name, John Smith, definitely a fake.

Thomas looks at his watch.

ROBIN SHERMAN
(curious)
You got somewhere else to be?

Thomas looks to Robin.

THOMAS FALLON
I've got to make an appearance at the morgue. I need to talk to Justin and Gabrielle's families, and I need to do it in person.

Robin frowns. Thomas pays more attention to the photo's on the wall of the victims.

DON LARK (O.S.)
(urgency)
Thomas? You might want to come in here!

Thomas and Robin leave the room in a hurry.

INT. APARTMENT 4A BEDROOM -- NIGHT

The bedroom is dark, a low wattage light bulb hangs from a socket on the ceiling. There is only a single mattress and one pillow on the ground. Don and Paul are already in the room, they are in quiet awe. As on the walls of the bedroom, covering every square inch is pictures of Justin, Gabrielle, Robin, Paul, Don, and Thomas.

Thomas and Robin enter the room, and both of them are shocked at the pictures of the team members. Thomas's mobile phone rings and he answers it.

THOMAS FALLON
(to phone)
What?
(beat)
Marcus, what have you got for me?
(beat)
Okay, okay.

Thomas hangs up the phone and puts it away. Thomas does not look happy.

THOMAS FALLON (CONT'D)
(upset)
No prints. No hairs, or no fibers. Forensics have nothing.

DON LARK
Isn't that odd. It's like he knows what we are looking for.

Thomas turns without a word, and walks out of the room. Don follows Thomas out.

INT. RUN DOWN APARTMENT BUILDING HALLWAY-- NIGHT

Thomas stands outside apartment 4A. He is very frustrated and annoyed. Don comes out to join Thomas. Annoyance is also clear with Don. Thomas's frustration is growing.

DON LARK
(concerned)
Thomas? Everything is going to work out!

THOMAS FALLON
(angry)
What are you basing that on Don? We're two men down, and no closer to when this started.

Thomas is about to punch the wall, but stops when he realizes it will solve nothing.

DON LARK
Justin and Gabrielle were good cops. But we've got to divorce ourselves from the emotion, until we catch him.

Thomas looks at Don with anger, though the anger is not directed at Don, it's about the situation.

THOMAS FALLON
(anger)
No. We feed off it. We find him, and then we kill him.

DON LARK
(reason)
Hey now! We're the good guys, we bring him in, he faces a long time behind bars.

Thomas smiles, a smile of disbelief, he looks into Don's eyes and the smile fades.

THOMAS FALLON
Good guys, bad guy. Tell you what, you find him, you bring him in. I find him, I put a bullet in his head.

Don realizes that Thomas is serious. Thomas turns and walks to the stairs. At the stairs Thomas stops and looks back to Don.

THOMAS FALLON (CONT'D)
I'm going back to the station. When you finish up meet me there.

Thomas does not wait for an answer, he just walks slowly down the stairs. Don looks very concerned and goes back into Apartment 4A.

INT. APARTMENT 4A BEDROOM -- NIGHT

Don comes back into the bedroom of Apartment 4A. Robin and Paul are taking the pictures off the wall and putting them into clear plastic evidence bags. Robin looks past Don, looking to see Thomas. When Robin can't see Thomas she looks worried, which Don notices.

DON LARK
Thomas decided to head back to the station. Just to get some rest.

ROBIN SHERMAN
(releaved)
Good. I know that I shouldn't worry about him, but I do.

Don smiles and goes over to Paul. Robin goes back to taking down the photos.

DON LARK
(concerned about Paul)
How are you holding up there?

PAUL ARCHER
(sad)
It's hard, risks of the job, I know, but it's still hard.

DON LARK
(comforting)
I know. It's natural to feel bad. When you lose a colleague like this, and you don't feel anything, that's when you quit.

PAUL ARCHER
Listen. This killer had to be trained, like military or something. We should contact someone, ask for help.

DON LARK
Good idea. I'll run it by Thomas.

PAUL ARCHER
I already did. Though with everything that's gone on, it kinda got pushed to the side.

Don takes out his mobile phone.

DON LARK
I'll ring the department of defense and military. We've got enough photos, lets head back.

Don starts to tap in numbers into the keypad of the phone as he leaves the room. Paul and robin seal their plastic evidence bags, now filled with photos, and then they follow Don out of the room.

INT. VIOLENT CRIMES UNIT TASK ROOM -- NIGHT

Thomas comes into the deserted office. He turns on the lights. Thomas walks to his desk, he pauses to look at the desks of Justin and Gabrielle. The door of the task room opens and Eddie walks in. Eddie has a look of concern on his face, and walks up to Thomas.

EDDIE PARKER
(sorrow)
I got called at home, heard about Justin and Gabrielle. Jesus, this is too fucking much man.

Thomas walks to his desk and sits down, Eddie walks up to Thomas's desk, and sits facing Thomas.

EDDIE PARKER (CONT'D)
The pictures that they took from the scene, the one's of you and

EDDIE PARKER
the team, Turns out that he develops them himself.

Thomas gives a sigh and then his face fills with confusion.

THOMAS FALLON
Wouldn't he need like a dark room and chemicals for that.

Eddie nods. Thomas takes a moment, he thinks, and then Thomas picks up the telephone receiver. Thomas presses three buttons on the dialer.

THOMAS FALLON (CONT'D)
(on telephone)
Hello? I need a list of all items found in the crime scene.
(beat)
I know how late it is, just get the list to me now!

Thomas puts the receiver down, and smiles. Eddie is confused.

EDDIE PARKER
You look like the cat what got the cream. What is it?

THOMAS FALLON
The Apartment was bare, nothing, no food. I'm just thinking.

A uniformed police officer comes into the office, holding a sheet of A4 paper. The uniformed police officer walks straight to Thomas and hands him the paper. The officer is trued and just puts the paper down on the desk and doesn't wait for an answer, then turns and walks over. Thomas shakes his head and smiles.

THOMAS FALLON (CONT'D)
(to Officer)
Thanks!

Thomas takes up the paper and starts to read it, as Thomas reads a smile grows on his face.

EDDIE PARKER
You want to share your happiness?

Thomas looks up from the paper, the smile is a constant.

THOMAS FALLON
The chemicals used to develop photo's, are they common? Would you find them in a normal home?

EDDIE PARKER
No. You'd have to know what they are, and go to a specialist shop.

Thomas puts the sheet of paper down on his desk.

THOMAS FALLON
Would you do me a list of those shops?

EDDIE PARKER
I'm going home to bed. Will tomorrow be alright?

Eddie stands up.

THOMAS FALLON
Sure. Thanks for this, I know it's not your job.

EDDIE PARKER
It's not, but Justin and Gabrielle were good cops. Anything that I can do to help, just ask.

Eddie turns and walks towards the door, before he leaves he turns back to face Thomas.

EDDIE PARKER (CONT'D)
You know, Robin could probably do with her Father. Sometimes big girls need their Daddies to be there for them.

As Eddie leaves, Robin, Paul, and Don enter the room and walk straight up to Thomas's desk.

THOMAS FALLON
(leadership)
Right, we have lost tonight, but we grieve later. Get some sleep. Tomorrow holds a lot of work for us.
(beat)
Don? A moment please?

As Paul and Robin head out of the task room, Don steps closer to Thomas.

DON LARK
(official)
Is there anything I can do for you sir?

THOMAS FALLON
(apologetic)
Don, I want to apologies for what I said, emotional night.

THOMAS FALLON
You are right, the case comes first, and we bring him in to face the courts.

Don nods.

THOMAS FALLON (CONT'D)
Eddie is putting together a list of places that sell developing chemicals. It's small but it's a lead.

DON LARK
(cautious)
I rand the Department of Defense and Military, I'm going there tomorrow. They seem very cooperative.

Thomas smiles at Don.

THOMAS FALLON
They would be. They don't want to have one of their trained ranks out here killing people.

DON LARK
How much should I share with them?

THOMAS FALLON
Tell them whatever they want to know, if they feel we're holding out on them, they may do the same.

Once again Don nods in agreement.

DON LARK
(sad)
Any word on when the services will be for Justin and Gabrielle?

Thomas grows with sadness, and looks over to Justin's and Gabrielle's desks.

THOMAS FALLON
Their families will have the remains released to them tomorrow afternoon. I'll let you know, when I know. Goodnight.

DON LARK
Goodnight Sir.

Don turns and leaves the task room. Thomas is still sitting at his desk staring at the empty desks.

INT. EDDIE PARKERS HOUSE LIVING ROOM -- NIGHT

Eddie is sitting asleep on an Armchair. There is a phone on a table next to the chair. Eddie's wife, VERA PARKER, is dressed in a bathrobe, she is sitting on the sofa watching Television. Vera turns off the television via a remote control, and looks to her husband Eddie, then to a clock on the mantelpiece. Vera stands up and moves closer to Eddie, she softly but firmly shakes his shoulder to wake him up.

VERA PARKER
(tired)
Wake up Eddie! It's bedtime.

Eddie wakes up and looks at Vera.

EDDIE PARKER
(groggy)
You woke me up to go to bed?

VERA PARKER
That bed just seems to big without you.

Eddie smiles and takes Vera's hand. The phone rings. Vera goes to the door as Eddie answers the phone.

VERA PARKER (CONT'D)
You, you follow me up! Don't be long!

Vera leaves. Eddie raises the receiver to his ear.

EDDIE PARKER
Hello?

KILLER (O.S.)
(electronically distorted)
Hello Eddie!

Eddie suddenly becomes anxious and sits forward in his chair.

EDDIE PARKER
What are you doing ringing me at home?

Silence on the other end of the phone.

KILLER (O.S.)
(electronically distorted)
What's the matter Eddie?

EDDIE PARKER
(uncomfortable)
You kill two cops and you ask me what's the matter?

KILLER (O.S.)
(electronically distorted)
Just cleaning up after I made a mistake. That gun club was a bad choice to practice.

EDDIE PARKER
There is little more I can do for you. Going after cops is too risky.

Silence on the other end of the phone. Eddie looks very nervous and worried.

EDDIE PARKER (CONT'D)
You still there? Hello?

KILLER (O.S.)
(electronically distorted)
You are right, the game is too risky to play with cops.

Eddie seems to relax a little.

KILLER (O.S.) (CONT'D)
(electronically distorted)
I'll just go hunting instead. I need you to give me some information.

EDDIE PARKER
(angry)
No! Right? No! It's too risky.

KILLER (O.S.)
(electronically distorted)
Then your Vera will play the game!

Eddie's face drops in horror.

EDDIE PARKER
No. No. No. I'll cooperate. What do you need?

KILLER (O.S.)
(electronically distorted)
Good. All I need to know is when the funerals of the fallen will be. Then I pick one for the hunt.

The phone goes dead. Slowly eddie, still in shock, puts the phone down. Eddie stands and goes for the door.

INT. EDDIE PARKERS HOUSE BEDROOM -- NIGHT

The bedroom is very neat. Vera is sitting up in the bed reading. The bed is a king sized bed. Eddie enters the room and is now dressed in his bed clothes. Eddie looks as though the weight of the world is about to collapse in on him. Eddie gets into bed and as he does Vera puts her book down and looks at him.

VERA PARKER
(worried)
What's wrong honey?

Eddie forces a smile at Vera, and then puts his arm around her.

EDDIE PARKER
(honest)
You know that I love you more than anything don't you?

VERA PARKER
I do. You know that I feel the same, don't you?

Eddie smiles, a smile of sadness. Eddie reaches over and turns out the light. The room goes pitch black.

INT. ROBIN SHERMAN'S HOUSE BEDROOM -- MORNING

Robin is in her bedroom, there are stacks of file storage boxes around the room. Robin is packing clothes into a large military style bag. There is the sound of keys being used on the front door of the house, and this noise sparks a streak of worry in Robin. Robin takes out her firearm, moves silently and slowly to the door of the bedroom, which is on the hall to the front door.

INT. ROBIN SHERMAN'S HOUSE HALLWAY -- MORNING

Slowly Robin moves down the hall and towards the front door. The door is patterned glass, and there is some undistinguishable figure on the other side trying to turn a key in the lock. Robin stands two feet from the clearance of the door and holds her gun ready to fire at the point of entry from the door. The door opens, and in comes EDNA SHERMAN, Robins Mother. Edna is 18 years older than Robin and, business suit, well groomed. Robin is relieved that it's Edna. Though, Edna is taken aback at being confronted with a gun.

ROBIN SHERMAN
Mom! Thank God. I thought you weren't home for another week?

Edna regains her composure and then brings in her bags. Once the bags are in Edna closes the front door behind her. Robin reholster's her gun.

EDNA SHERMAN
I finished early. So, What's with the great welcome home?

Robin turns and goes back to her bedroom. After a few seconds Robin comes back out from her bedroom, carrying her bag. Edna is confused.

ROBIN SHERMAN
Don't speak. We've got to head out!

Robin takes Edna's bags and then opens the front door.

EDNA SHERMAN
(confused)
Can't I at least have a shower first?

INT. ROBIN'S CAR -- MORNING

Robin is driving, Edna is in the passenger seat. Robin is concentrating on the road, while Edna sits annoyed.

EDNA SHERMAN
When are you going to tell me what this is about?

ROBIN SHERMAN
We are in the middle of a man hunt. A killer has been playing a game with citizens, when the player fails they are executed.

EDNA SHERMAN
(sympathetic)
That's terrible love.

ROBIN SHERMAN
It gets worse.
(beat)
Two of my team have been killed, and the killer has made a threat on our lives.

Now Edna is in shock.

EDNA SHERMAN
(concerned)
Then you should quit. Go away until its over.

For a moment Robin and Edna sit in silence. Robin is upset.

ROBIN SHERMAN
I can't quit. He killed my friends.

EDNA SHERMAN
(forceful)
Quit! Your father will understand. If he was any kind of a father he would have fired you already.

Robin pulls the car over and slams on the breaks, the car jolts to a stop.

ROBIN SHERMAN
(angry)
You! Don't ever talk about my dad like that again.

Edna realizes that she has gone too far. Robin remains furious.

EDNA SHERMAN
(calm)
Sweetheart, I'm just worried about you.

ROBIN SHERMAN
My team needs me. My Dad needs me.

Robin starts the car again and continues to drive on.

ROBIN SHERMAN (CONT'D)
I've got to get you to a safe house.

EDNA SHERMAN
(adamant)
No! Where you are staying I'm staying.

Robin smiles, her anger lessens.

ROBIN SHERMAN
Just so you know, Dad is going to be there.

EDNA SHERMAN
(nervous)
Don't worry. I can hold my tongue.

ROBIN SHERMAN
(reassuring)
It's been over twenty-five years, I doubt that there will be anything that you two have to talk about.

Edna smiles. Robin returns all her concentrating on the road.

INT. SQUADREN HOUSE KITCHEN -- AFTERNOON

The Squadren house kitchen is neatly kept, with hygiene signs everywhere, all mod cons are present in the kitchen. An oversized white table is in the centre, with many chairs around it. In one of the chairs Edna sits, drinking a cup of tea. Thomas, tired and worn, enters carrying an empty cup, he walks straight for the sink unit, not noticing Edna. Though Edna has noticed him. Thomas has his back to Edna as he runs water to clean his cup. Once the cup is clean Thomas goes to a coffee pot and pours himself a cup of coffee. Thomas turns around and looks at Edna, nothing registers with him, he turns his attention back to the coffee in his cup. Slowly Thomas looks back to Edna.

THOMAS FALLON
(badly masked surprise)
Edna? Edna Sherman?

Edna smiles faintly, and then nods her head. Thomas no longer masks his surprise. Robin enters the kitchen and there is a part of her that is happy to see her parents together. But Robin knows that this could turn into a volatile situation.

ROBIN SHERMAN
(light)
Mom? You remember Dad, don't you?

Thomas looks to Robin and then turns his attention back to Edna. Edna forces her eyes to meet Thomas's eyes. Then Edna turns her attention from Thomas to Robin.

EDNA SHERMAN
(to Robin)
Sweetheart? Will you give me and your father a moment, please?

Reluctantly Robin leaves the kitchen. Thomas sits down, next to Edna.

EDNA SHERMAN (CONT'D)
Robin tried to get me to go to a safe house, but I wanted to be near her.

THOMAS FALLON
(concerned and tired)
You settle in alright? Need anything?

Edna shakes her head.

EDNA SHERMAN
I'm fine. I've all that I need.

THOMAS FALLON
(blunt)
Damn you Edna. Why? Why wait eighteen years to tell me? Why did you let her join the force?

EDNA SHERMAN
Thomas. I loved you. But you wanted to join the force, how could you do that and every night come home and see all you could lose.

THOMAS FALLON
(understanding)
I don't know. But I would have liked that choice.

EDNA SHERMAN
I didn't want you to chose again.

There is awkward silence in the room. Edna is concerned.

EDNA SHERMAN (CONT'D)
Tell me, honestly, is Robin in danger?

THOMAS FALLON
Yes. It kills me, but yes.

EDNA SHERMAN
Can you get her away from it?

THOMAS FALLON
No, believe it or not she's safer here.

EDNA SHERMAN
There's nothing you could do?

Thomas stands up, though he never takes his eyes off Edna.

THOMAS FALLON
My team lost two members, I've two funerals to attend.

Thomas goes to walk to the door, but stops, he turns around and give Edna a serious look.

THOMAS FALLON (CONT'D)
This one. This killer, he has each remaining member of my team in his head. I'll do all I can to keep Robin safe, but don't underestimate her, she's quite resilient.

Thomas leaves the room, and leave Edna lost in thought.

INT. EDDIE'S DARKROOM -- NIGHT

Eddie is alone in the unorganized dark room. The red light surrounds him as he develops a photo in the chemical lotion. There is a knock on the door and Eddie lifts the photo to hang it on the drying line. Eddie unlocks the door and outside Thomas is standing, obviously upset.

EDDIE PARKER
(worry)
Jesus, you look like you've been give the worst job in the force.

THOMAS FALLON
Yeah, but then you'd be out of a job.

Eddie smiles.

EDDIE PARKER
What can I do you for?

THOMAS FALLON
I was wondering if you wanted to get a drink?

Eddie looks back into the darkroom, then turns back to Thomas and nods.

EDDIE PARKER
Just got to finish something up for Vice, thirty minutes in the local?

THOMAS FALLON
Well, you'll be playing catch up when you get there. Just want you to be prepared.

Thomas turns to walk away.

EDDIE PARKER
Ah, I like a challenge.

Eddie closes the door of the darkroom. By the time Eddie has his attention back to the photo that he placed on the line there is an image coming through. The image clears to that of Paul Archer. Eddie frowns as he looks at the photo.

INT. LOCAL BAR -- NIGHT

Thomas is sitting at the bar, nursing over a bottle of whiskey. Beside the bottle are two glasses, one empty, the other with a small remainder of Whiskey in it. Thomas is down in the dumps. Eddie comes into the bar, he stands back and takes a long sorrowful look at Thomas. As Thomas turns to looks at Eddie, Eddie bucks up and lightens his humor.

Eddie walks over to Thomas and sits down beside him. Thomas pours out two glasses of Whiskey from the bottle.

EDDIE PARKER
How many are you ahead of me?

THOMAS FALLON
(bordering on drunk)
More than a little and less than the day owes me.

Eddie sips at his drink, while Thomas clears his own glass in one gulp.

THOMAS FALLON (CONT'D)
Edna is stopping at the station house.

EDDIE PARKER
(shock, surprise)
Wow. That's a kind of Three's Company moment there. Have you two talked?

THOMAS FALLON
Briefly.

Thomas pours himself another drink, and drinks it down fast, then goes to pour himself another. Eddie reaches over and takes the bottle away. Briefly Thomas is annoyed, but realizes that Eddie is only looking out for him.

EDDIE PARKER
The situation is bad enough, the drink won't help.

THOMAS FALLON
(regret)
I know, I know.

EDDIE PARKER
You need to keep it together, this will get worse before it gets better.

Thomas nods in agreement.

EDDIE PARKER (CONT'D)
The fold out couch is at home, if you can't face sleeping in the same building as Edna.

Thomas stands up, and takes some note money from his trouser pockets, and throws it onto the bar. The drink has made Thomas slower but not totally drunk. Eddie watches Thomas carefully.

THOMAS FALLON
Know something?
(beat)
That's not a bad idea.

Eddie stands up, and both Eddie and Thomas walk out of the bar together.

INT. VIOLENT CRIMES UNIT TASK ROOM -- MORNING

Don, Paul, and Robin are sitting at their desks, all doing various paperwork. The windows of the task room are now boarded up, so no light from the outside can come in, and the only light comes from the florescent lights on the ceiling. Thomas enters, wearing sunglasses, and carrying a take out cup of coffee. Thomas walks straight to his desk without saying a word, or noticing who is in the task room. Thomas sits down at his desk. There is an envelope on the desk for Thomas. As Thomas opens up the envelope there are two photos inside, photos that he is not surprised to see. The photo's are of Justin's and Gabrielle's death scene. Thomas turns in the chair and stands up to face the white board with the map and photos on it. Louise Anderson's photo is now up on the board, and from her picture there is a red line pointing down to the location where she died. Thomas puts the photo's of Justin and Gabrielle side by side, then takes a red marker and draws the line to where they were killed. As Thomas does this the rest of the team come up to his desk. Once Thomas is finished, he faces the team, they are waiting for their orders.

THOMAS FALLON
Justin's family are having a private service for his burial. But Gabrielle's family have given us permission to attend hers.

Thomas sits down at his desk.

THOMAS FALLON (CONT'D)
Due to the threat on our lives it's down to each of you if you want to attend.
(beat)
Eddie will be on hand, taking discrete photo's of the mourners.

Thomas looks down to papers on his desk. Thomas looks back up and is wondering why the team are still standing in front of him.

DON LARK
(conviction)
Sir? We're all going to attend!

Through his sadness there is a moment of pride in Thomas. Paul has something on his mind.

PAUL ARCHER
(curious)
You really think the killer will show?

ROBIN SHERMAN
No, he won't, but...

THOMAS FALLON
But it has to be shown we're following rules that don't count this time.

PAUL ARCHER
So what do we do? When you can't count on the rules?

Thomas is lost in thought.

PAUL ARCHER (CONT'D)
Sir? What do we do?

Thomas smiles and looks to his team.

THOMAS FALLON
Then we bring in someone who plays by different rules.

Don smiles

EXT. A HIGH GRASS FIELD -- MORNING

The large area of grass is well overgrown, but on purpose. There are brightly colored markers placed every eight meters. Off in the distance, where the grass is cropped, Thomas is standing, dressed in funeral clothes. Thomas is also wearing binoculars, and is surveying the high grass area with them. At Thomas's side is NORMAN HASTINGS, a young army officer. There are two metal stands on either side of Thomas and Norman. The stands are eight feet high with metal plates hanging down the centre of the stands. There red painted targets on the metal plates. Thomas puts down his binoculars and turns to Norman.

THOMAS FALLON
There is no one out there!

A bullet silently comes out of nowhere and hits the target which is closest to Thomas's head. Thomas ducks down and is shaken. Norman is not stirred by the shot. Thomas regains his composure and goes back to scanning the long grass with the binoculars.

NORMAN HASTINGS
Sir, a snipers first friend is his rifle, then his ability to strike from nothing.

Thomas puts his binoculars down.

THOMAS FALLON
How long would it take you to teach someone to shoot like this?

NORMAN HASTINGS
With due respect sir, we don't train someone to be a sniper, we just enhance the talent that already exists.

Thomas lets out a deep sigh. Another bullet silently comes out of nowhere and hits the target next to Norman's head. Thomas is shaken again, but not as much as before.

THOMAS FALLON
What about this one hiding out in the grass there?

NORMAN HASTINGS
Major John Harris? He is the coordinator of the school, for lack of a better term.

THOMAS FALLON
When can I get to meet the Major?

A barrel of a sniper rifle comes behind Thomas and touches his ear lobe. Thomas is stiff with fear.

JOHN HARRIS (O.S.)
You can meet the Major now.

Major JOHN HARRIS, mid to late thirties, five foot ten inches tall, well built but not overly muscular, tight shaven head, a scar just over his left eyebrow. John stands behind Thomas, and lowers his camoflauged rifle. Thomas starts to relax. John is wearing a cover of grass, the same color of the natural grass. Thomas turns to look at John, and Thomas is not impressed. Norman moves and takes the rifle and camoflauged cover from John. Thomas keeps his eyes on John. Under the camoflaged cover John is wearing normal Army fatigues.

JOHN HARRIS (CONT'D)
(polite)
Detective Fallon? John Harris. Nice to meet you.

Norman walks away with the equipment.

THOMAS FALLON
You are quite a shot. Can you account for your whereabouts for the last few weeks.

John steps closer to Thomas.

JOHN HARRIS
(serious)
Lets get one thing straight. When I kill, I kill because I'm ordered to. The last few weeks I was on a training exercise in Lebanon.

Thomas smiles. John's expression turns from serious to sad.

JOHN HARRIS (CONT'D)
I heard about your Detectives, and I've been ordered to work with you.

THOMAS FALLON
Justin and Gabrielle, They were buried this morning.

JOHN HARRIS
(honest)
You have my condolences.

THOMAS FALLON
Thank you. Now, you realize that you're putting yourself at great risk by coming.

JOHN HARRIS
Well, at least I won't be alone.

Thomas gives John a serious look.

INT. WOMEN'S DORM IN STATION HOUSE -- AFTERNOON

The Dorm is large with many bunk beds, and a number of metal lockers. On one of the beds, lower bunk, Edna Sherman is laying down, reading a book. Edna is alone in the room. The door opens and Robin enters. Robin is dressed in black, as she has just come from Gabrielle's funeral. Robin pays no mind to Edna , though Edna has put down her book and is now sitting on the side of the bed, Edna looks at Robin. Robin is over at the lockers, standing next to hers, the door open. Robin takes off her black jacket and puts it into the locker, when the voice of Edna startles her.

EDNA SHERMAN
(concern)
You know that I live in fear of having to go to your funeral one day?

Robin closes her locker and then goes to a lower bunk near to Edna.

ROBIN SHERMAN
(tired, frustrated)
You know I can't justify my job to you every time you see something you don't like.

Edna starts to get upset.

ROBIN SHERMAN (CONT'D)
(trying to be calm)
And don't ask Dad to transfer me again!

EDNA SHERMAN
I can't believe that he told you that.

ROBIN SHERMAN
(repressing anger)
He didn't, you just did.

Now Edna is uncomfortable, but Robin keeps her eyes locked to Edna's.

ROBIN SHERMAN (CONT'D)
Two of my friends were buried today. I've got to go and find the bastard that killed them.

Robin stands, full of conviction, and walks to the locker. Robin takes an empty waistband clip-on holster, then she takes a key from her pocket, and unlocks a metal box that is in the locker. Robin then removes her gun and places it into the empty holster. When Robin turns around she see's that Edna is staring at her. Robin leaves, while Edna looks on.

INT. VIOLENT CRIMES UNIT TASK ROOM -- DAY

The office is empty, still. A uniformed police officer walks into the room carrying a long rectangular cardboard box. The officer places the box on Thomas's desk. With fear the officer turns around, staring at the boarded up windows and leaves in a hurry. On the box, neatly written is the name of THOMAS FALLON.

EXT. VIOLENT CRIMES UNIT CAR PARK -- DAY

A black Land Rover, with heavily tinted glass, pulls up close to the main front door of the building. As soon as the car stops, the doors of the Land Rover which face the front door of the building opens, and Thomas and John Harris exit the car and enter the building.

INT. HALLWAY OUTSIDE TASK ROOM -- DAY

Thomas and John walk down the hallway toward the Task Room.

THOMAS FALLON
We have to be careful. Since the threat, we changed our movements, and our lives.

JOHN HARRIS
So your method of catching this man will be avoidance?

THOMAS FALLON
(annoyed)
We are just trying to survive, and get our man.

JOHN HARRIS
Interesting plan!

Thomas and John reach the Violent Crimes Unit Task Room and enter.

INT. VIOLENT CRIMES UNIT TASK ROOM -- DAY

Thomas enters first, and heads for his desk. John comes in and is unnerved by the boarded up windows. John follows Thomas to Thomas's desk. Thomas ignores the package on his desks and sits down.

JOHN HARRIS
(curious)
He took out Louise Anderson, while she stood here?

Thomas looks at where John is standing and nods. Thomas then picks up a folder from his desk, opens it, and looks over the information contained.

THOMAS FALLON
(sad)
Right, were you are standing. The Killer's position was about five to six hundred yards away.

JOHN HARRIS
It gets to you, doesn't it? These killings.

THOMAS FALLON
Let you into a secret, the day it stops getting to me is when I'll just retire.
(beat)
That shouldn't be the norm.

John walks behind Thomas and looks to the white board, with the map and photo's. John looks over each of the photo's, and each of the locations. Although the situation is grim, part of John is impressed. Thomas turns in his chair and looks at John staring at the white board.

THOMAS FALLON (CONT'D)
No pattern, no criteria for the selection of the targets.

JOHN HARRIS
Until now!

THOMAS FALLON
(sad)
Until now.

Robin enters the task room, still annoyed from her conversation with Edna. Robin goes straight to her desk. Thomas gives an attention seeking cough. Robin looks up at Thomas and John, then she stands and walks to them.

THOMAS FALLON (CONT'D)
Major John Harris, meet Detective Robin Sherman. The Major has been placed on detached duty to us, he's an Army Sniper.

ROBIN SHERMAN
(displaced)
Nice to meet you. Sir? Can we talk?

JOHN HARRIS
I'm going to get some coffee, talk away.

John walks away out of the room. Robin waits for him to go before she turns back to her father.

ROBIN SHERMAN
Do you really think that it's wise to provide another target?

THOMAS FALLON
It was either him or two dicks who don't know a think about serials, and at least the Mayor is a sniper.

Robin nods, but still there is something on her mind, and Thomas can tell this.

THOMAS FALLON (CONT'D)
Robin, sit down.

Robin takes a seat in front of Thomas.

THOMAS FALLON (CONT'D)
There's something on your mind, spill it.

ROBIN SHERMAN
Mom! She asked you to take me off the team.

THOMAS FALLON
She is just concerned, I am too.

ROBIN SHERMAN
(annoyed)
I'm not four years old, and I don't need protecting.

Thomas gets up and walks around the desk, then he sits down on the edge and faces Robin.

THOMAS FALLON
You are our girl, always will be. I don't want to lose you, from this team, or my life.

Robin stands up and gives Thomas a hug. Paul and Don enter the room. Thomas see's Don and Paul, and lets Robin go from the hug. Paul and Don sit at their desks. Robin lingers around Thomas's desk, even though Thomas has moved back behind the desk. John comes back into the Task Room, drinking coffee, and walks straight to Thomas's desk. Once there John's attention is drawn to the long box with Thomas's name on it, this draw Thomas's attention to the package. Thomas starts to open the package, as he opens it, Don and Paul make their way up to his desk.

JOHN HARRIS
You should be careful.

THOMAS FALLON
I've had all packages that come into the building checked by the bomb squad, since Ms Anderson's death.

John nods in approval. Thomas continues to open the package. Inside the package there is much bubble wrap. The bubble wrap is covering a crossbow arrow, Thomas is curious about the arrow and rolls it around with his fingers. As he does writing appears to be engraved into the arrow. It's the name of Paul Archer. A brief moment of confusion in the room, except for Thomas and John. John is smiling. Thomas looks up from the arrow to Paul. Slowly the realization comes over Paul, then Robin, and finally Don. Thomas hands the arrow to Paul. Don and Robin gather around Paul.

THOMAS FALLON (CONT'D)
Paul, you are well protected, less this man has x-ray vision. Right John?

John turns and walks out of the task room without a word to anyone. Thomas follows John.

INT. HALLWAY OUTSIDE TASK ROOM -- DAY

Outside the Task Room, Thomas and John are facing each other.

THOMAS FALLON
Well, we know how he's after, that's something.

JOHN HARRIS
The problem is you are meant to find him also. You can't do that hiding yourself in that makeshift bunker.

Thomas steps closer to John.

JOHN HARRIS (CONT'D)
(conviction)
You need to make a choice.

THOMAS FALLON
(heated)
A choice? My choice is to protect my people.

JOHN HARRIS
Protect your people? I didn't know you wanted me here to be bored.

Paul comes out of the Task room, Paul is unnoticed by John and Thomas.

THOMAS FALLON
You got a problem with people staying alive?

JOHN HARRIS
You want my advice? You get Paul out there, and you use him.

THOMAS FALLON
(angry)
Get him killed! That's what you mean.

JOHN HARRIS
I'll be there, I'll do my best to keep him alive.

THOMAS FALLON
Your best is no gaurentee, and I won't order a man into a fifty fifty chance.

Paul steps forward. John is unchanged, though Thomas is very uncomfortable.

PAUL ARCHER
(nervous)
No need to order, I volunteer.

John smiles, and looks to Thomas, who is not so happy about the situation. Thomas turns his attention to Paul.

THOMAS FALLON
You know this is dangerous. You don't have to do this Paul.

PAUL ARCHER
I know Sir. But it's the only way to flush him out.

Thomas nods, and then goes back into the Task Room. John faces Paul, Paul is very nervous.

PAUL ARCHER (CONT'D)
The thought of this is making me shit myself, to be honest.

JOHN HARRIS
I'd be worried if it wasn't.

PAUL ARCHER
Tell me that you are good.

JOHN HARRIS
Good? I don't know. More like better than average.

John gives Paul a wink and goes back into the Task room. Paul is now a little more nervous.

INT. VIOLENT CRIMES UNIT TASK ROOM -- DAY

Paul rejoins everyone at Thomas's desk. Outside there is the sound of sirens starting, many sirens blaring loudly. Thomas goes over to the boarded up windows, the sound of sirens now very many, very strong.

THOMAS FALLON
Wonder what the problem is?

A uniformed police officer, wearing a bullet proof vest, comes panicking into the Task Room. The Uniformed Police Officer rushes straight to Thomas. Everyone else in the room is tensed.

THOMAS FALLON (CONT'D)
What? What's the problem?

BULLET PROOF OFFICER
(stressed)
Your man... a bomb... two officers down.

THOMAS FALLON
(worry)
Where?

BULLET PROOF OFFICER
(stressed)
A girl has twenty pounds strapped to her, at the Tyrell murder scene. Two bomb squad officers tried to get near her, but they were taken out.

THOMAS FALLON
(confused)
Twenty pounds of what?

The Officer in the bullet proof vest leaves the room without a word. The sound of police sirens is as loud as ever. Thomas looks at John. The whole team move to get their gear from their desks. From a holster on the back of his belt, John takes out a Gloch 9mm and chambers it. John gives Paul a worried look, and then faces Thomas.

THOMAS FALLON (CONT'D)
A trial by fire for you.

JOHN HARRIS
Do you want this man dead or alive?

Thomas looks over to the boarded up windows, and the to the empty desks of Justin and Gabrielle.

THOMAS FALLON
We have permission to use force if necessary. But usually we try for alive.

JOHN HARRIS
You know, I make no promises.

THOMAS FALLON
Right. I just don't want to lose another member of my team.

JOHN HARRIS
I make no promises.

EXT. CITY STREET -- DAY

The same place as the Paul Tyrell murder scene. TRACY ARCHER, Paul's sister, about a year younger though, stands wearing a metal overcoat, though up close it is plainly a coat made of four inch nails, held together by a thin line. Police barriers are up, keeping the many public back, at least ten meters on all sides. A command tent is set up behind on of the barriers. Two dead bomb squad officers lay two meters away from the panic stricken Tracy, who has dried tears, and fresh ones down her face.

INT. COMMAND POST TENT -- DAY

Inside the tent there are many computers, manned by uniformed police officers. Also, a man sitting by a radio, constantly switching through the channels listening. Thomas, John, Don, Robin, and Paul enter the tent. A burly man in his late fifties, walks up to them, he is CAPTAIN CASEY. Thomas and Captain Casey shake hands.

CAPTAIN CASEY
Thomas, glad you're here. Before we go any further, one of yours, Paul Archer?

Paul's ears pick up and he steps into the conversation, Captain Casey's face looks grave.

THOMAS FALLON
(curious)
You already know that Paul is the next target?

CAPTAIN CASEY
(worried)
I gathered that when we got the ID on the Bomb Girl.

Paul, more worried than ever, steps forward and looks out at the girl.

PAUL ARCHER
(disbelief)
My Sister! Oh, God.

Paul goes to step out of the tent, but Thomas steps forward.

THOMAS FALLON
Paul, that'll only make things worse. Give us some time?

Paul stops and turns around.

PAUL ARCHER
Ten minutes, then I'm getting her.

Thomas gives a nod of approval to Paul. Over at the Radio, a voice comes crackling across.

KILLER (O.S.)
(electronically distorted)
Welcome one and all. Thomas and your team, and the newest addition, hope we meet.

Everyone in the tent falls into silence, and then the Radio officer turns up the volume, Paul doesn't take his own view from the sight of Tracy.

KILLER (O.S.) (CONT'D)
(electronically distorted)
Paul, you need not worry. Tracy is just a prop, you are the main attraction. Tracy, under her coat-o-nails, has twenty pounds of C4. I control the switch, but you can disarm, and only you. Paul by cutting the red wire, like in the drivel that Hollywood infects us with.

Paul turns and gives a stern look to Thomas.

KILLER (O.S.) (CONT'D)
(electronically distorted)
You, unarmed, bar the wire cutter, and the time of five minutes to complete. Tempus Fugit Paul.

Paul removes his gun and looks around, Thomas stands close to Paul. Paul hands Thomas his gun and Thomas takes the gun somberly.

THOMAS FALLON
(reassuring)
You just do as he says. We're going to try track the source.

PAUL ARCHER
(brave)
You take your time, I'll be back in four minutes.

Paul turns, a Uniformed police officer hands him a set of wire cutters. Paul leaves the tent with his hands raised in the air. Thomas turns to the Radio controller.

THOMAS FALLON
Is there anyway we can tell where he is broadcasting from?

RADIO CONTROLLER
Could be anywhere, two miles away, or in the crowd.

JOHN HARRIS
He'll be in a hidden place, close, watching. Those two officers didn't shoot themselves.

EXT. TRACY ARCHER'S STANDING PLACE -- DAY

Paul walks at a steady pace, his arms still held high. Tracy looks over to him, and starts shaking her head.

TRACY ARCHER
Paul! Go back, please.

PAUL ARCHER
(reassuring)
Don't worry sis, I'm here to help.

TRACY ARCHER
Help me? You can't even program the VCR.

Tracy is shaking so much that her nail coat is making clicking noises from the nails hitting one another. Paul reaches Tracy and smiles.

PAUL ARCHER
Okay. Just going to push this coat out of the way. Then we'll get a coffee.

Paul pushes the coat back and see's the C4 around her chest and waist. There is a red wire going around the explosive, and a small detonator to her side. Tracy is shaking and looking down at what is attached to her. Paul takes the wire cutters in his hand and goes to cut the wire. A bullet silently hits Paul in the shoulder, causing him to drop the wire cutters. Tracy gasps and tries to remain still.

INT. COMMAND POST TENT -- DAY

The tent is a buzz with activity. John is peering out of the opening of the tent with a pair of binoculars. Thomas is standing anxiously beside John. Thomas is looking at Paul's location. John is looking at possible locations where the shot came from.

JOHN HARRIS
He could be in any one of those buildings.

THOMAS FALLON
The uniforms won't go into them, not now.

JOHN HARRIS
I'll go.

John puts down the binoculars and then moves swiftly to the back of the tent, then out.

EXT. TRACY ARCHER'S STANDING PLACE -- DAY

Paul has picked up the wire cutters and is about to cut the red wire again when another shot hits him in his other shoulder. This time Paul manages to keep hold of the wire cutters. Paul stands and faces Tracy. Tracy is more distressed now.

TRACY ARCHER
Paul, he's going to kill you. Get of here.

Paul ignores Tracy and keeps a smile on his face. Sweat beads down Paul's face. Once again Paul holds the wire cutters next to the red wire, just before he snips, another shot hits him in the shoulder. Paul spins around and he loses his footing, then falls to the ground.

INT. DARK HALLWAY -- DAY

John peers around the corner. His head pops out and back in quickly. John then quickly moves flat against the opposite wall. He holds his gun down, pointing in front of him. Quietly and slowly he moves up the dark corridor. A room is six feet away from him, on the opposite wall. An explosion is heard, loud, it's force runs through the building, but it's outside. The aftershock knocks John from his feet. As John manages to get himself back to his feet, he is shaken. A black masked figure, our killer, comes walking slowly out of the room. The killer looks at John and slants his head curiously. John is still dazed and his hands shaking, raises his gun up. John takes a shot which misses the Killer and hits the doorframe. The Killer does not flinch. John goes to re-aim, but Killer runs past John. John gives chase.

INT. STAIRCASE -- DAY

John and Killer are in chase mode going up the stairs. John managed to get a shot off and grazes the arm of Killer. But this does nothing to stop the motion. John starts to take two steps at a time, to catch up with Killer.

EXT. ROOFTOPS -- DAY

The Killer bursts out onto the rooftop and runs, doesn't even break stride. The killer is fast, by the time John is on the rooftop, the Killer has made up much distance. The chase continues. The killer keeps making ground. John is tiring. The Killer stops at the edge of the building and then John catches up. John slows as the Killer faces him. It looks as though the Killer has nowhere to go. John holds his gun pointing at the Killer.

JOHN HARRIS
(shouting)
This time I won't miss fucko. Don't move!

KILLER
(electronically distorted)
I know you won't miss again, I'm amazed you missed in the hall.

John look worried, he stops approaching the Killer

JOHN HARRIS
(curious)
You know me asshole? How?

The Killer moves her hand slowly to her throat, and takes a black strip from around her throat. The Killer lets the strip fall to the ground.

KILLER
(female voice)
I know, because as familiar as you are of my work, I am of your work.

John keeps his gun directed at the Killer, but he is more confused than ever.

JOHN HARRIS
You've nowhere to go lady. Come in, you obviously need some professional help.

The Killer turns around and faces the high fall to the ground.

JOHN HARRIS (CONT'D)
Don't do that! Don't!

KILLER
Reintroduction was the point of today Major. We'll talk soon.

The Killer steps off the building and falls down. John rushes to the edge of the building, holding his weapon at the ready.

EXT. BUILDING WITH FLAGPOLE -- DAY

The Killer is now resting on a flagpole ten feet down from the top of the building, and waves up to John before falling down the rest of the way to the pavement, with cat like reflexes she lands on her feet.

EXT. ROOFTOPS -- DAY

John is left dumbfounded at the Killers actions, he holsters his weapon then makes his way to the door leading to the stairs.

EXT. TRACY ARCHER'S STANDING PLACE -- DAY

John comes out of a building, back to where Tracy, Paul, and the rest of the police presence were. But no longer is there a mass of people, just bodies on the ground. People who were killed by the nails. There are Police and Civilian dead and injured. The explosion has caused dust to cloud the air. John can make out Thomas standing were Tracy was standing. Thomas is lost, and when he sees John coming through the clouded air, something awakes in him.

THOMAS FALLON
Tell me good news. Tell me you've killed him.

John gives a guilty look to the ground, which is covered in scorched flesh and debris.

JOHN HARRIS
I got a shot off, but still...

THOMAS FALLON
(shocked)
Her?

JOHN HARRIS
Yes, she took off her voice box.
(beat)
Strange thing is she seemed to know me, seemed to be happy that I was there.

Thomas looks around at the ground again, and is losing himself into thought once again.

THOMAS FALLON
We'll talk about it back at base. The tent shielded the rest of the Team, you can go back with them.

JOHN HARRIS
What are you going to do?

THOMAS FALLON
For the third time this week I've to face the family of one of my team.

John looks to Thomas and decides to leave Thomas to his thoughts. John walks away towards the tent, Emergency medical teams start to arrive.

INT. VIOLENT CRIMES UNIT TASK ROOM -- NIGHT

The windows are boarded up. It's late, there are very few lights on in the task room. Don, Robin, and John are sitting silently in different parts of the room, each is lost in thought. Don, who is trying to keep together, is working on his computer on his desk. Robin has her head down on her desk and silently weeps. John is staring at the boarded up windows as though he can see right through them. The door of the Task Room opens, Don, Robin and John turn to see Thomas and Eddie coming through the doors. Thomas is looking through the some photos of People in the crowd.

THOMAS FALLON
(to Eddie)
Have uniforms go trough the data banks, any criminal records then run them in.

Eddie smiles, though it's brief. Eddie takes the photos from Thomas and leaves. Thomas pays no attention to anyone as he walks up to his desk. When Thomas sits down, he gives John a long stare. John doesn't see this, as he is still staring out the window that isn't there.

THOMAS FALLON (CONT'D)
Robin? Don? Go to the S.W.A.T. team and check out flak jackets and helmets.

Without another word, Don and Robin leave the Task Room. When the door closes behind them, Thomas rises to his feet and moves over to John.

THOMAS FALLON (CONT'D)
No Killer that I've chased in the past has ever hit this close to home.

John turns and looks at Thomas.

THOMAS FALLON (CONT'D)
(curious)
You had her, and you missed. What happened?

JOHN HARRIS
I don't know. All I know is that she knows me.

Thomas is now becoming more interested.

JOHN HARRIS (CONT'D)
The question is where she knows me from. This is just an attempt to draw me out into the open.

THOMAS FALLON
What happened on that roof?

JOHN HARRIS
She said it was a reintroduction, whatever that means.

THOMAS FALLON
A past pupil? Someone who failed to become a sniper?

JOHN HARRIS
(shrugging)
Despite equal rights in the army now, very few women come for training, and those who do, they pass.

THOMAS FALLON
(frustrated)
An Ex then?

John shakes his head and turns back to the boarded windows.

JOHN HARRIS
The job I do does not allow much time for a social life. Haven't been on a date in over five hours.

Thomas walks back to his desk, his face mirroring the torment inside him.

THOMAS FALLON
I need you to go back, carefully, think of any women in your past that is even half competent with skills matching this killer.

JOHN HARRIS
I swear I have, no women who I know has the skill, motive, or plain malic to carry out these crimes.

Eddie Parker comes through the door. Thomas and John look to Eddie. Thomas is bewildered to why Eddie is there. There is a look of pure shame and self loathing on Eddie's face. Eddie walks towards Thomas and John.

THOMAS FALLON
(curious)
Eddie? What are you still doing here?

EDDIE PARKER
(shame)
There's something that I've got to tell you. There have been too many deaths.

John stands up and then moves to stand beside Thomas. Both Thomas and John are now very curious.

INT. EDDIE PARKERS HOUSE HALLWAY -- NIGHT

The front door of Eddies house opens. The Killer, dressed in her black outfit, enters the house and then removes a pick from the door lock. As the Killer steps in she closes the door behind her, and stands in the darkness.

The Killer taps the goggles over her eyes and the lenses go green, still her eyes cannot be seen. The Killer looks around the hallway and then looks at the stairs. She moves with stealth up the stairs.

INT. EDDIE PARKERS HOUSE TOP OF STAIRS -- NIGHT

The Killer stands at the top of the stairs. There are three doors leading off the stairs.

INT. VIOLENT CRIMES UNIT TASK ROOM -- NIGHT

Eddie sits, a light is shining in his face, Eddie is squinting. Behind the light is Thomas, angry and brooding. To Thomas's left is John, careful and concentrating. To Thomas's right is Robin and Don, both are dumbfounded, though Robin is more upset.

EDDIE PARKER
(uncomfortable)
Can you lose the light? It's not an interrogation.

The light is moved from Eddie's eyes.

THOMAS FALLON
(seething)
You stood by and watched people being murdered!

EDDIE PARKER
I didn't have a choice Thomas. My wife's life was at stake.

JOHN HARRIS
Then why tell us now? The killer is still out there, if she finds out you are talking to us, the threat is still there.

THOMAS FALLON
Tell us what you know!

EDDIE PARKER
All I know is that she picked me. She rings, tells me a hunt is going to start, and gives me a phone number, she wants to know your movements.

THOMAS FALLON
I can't be in the same room as you, you are nothing but a traitor.

Thomas stands up and looks only to Don.

THOMAS FALLON (CONT'D)
Don, get the phone number and take him to a holding cell, charge him with accessory to homicide.

Thomas gives Eddie one more angry look and walks out of the task room. Robin, still upset, follows Thomas out of the room.

INT. HALLWAY OUTSIDE TASK ROOM -- NIGHT

Thomas is resting his head on the far wall from the door of the Task room. His eyes are closed and no longer is their anger in his face, now other emotions take hold. Mostly fear and sadness. Robin steps up behind him and puts her hand on one of Thomas's shoulders.

THOMAS FALLON
I do this job to protect the good from the evil, the line is becoming blurred.

ROBIN SHERMAN
What he did, he did from fear, he's a good guy.

THOMAS FALLON
Don't defend him. He lost faith in me, the unit. He knew that we could protect Vera. There is no defense.

ROBIN SHERMAN
He's your oldest friend!

THOMAS FALLON
(calm)
And my newest hatred.

Robin goes back into the task room, understanding but yet not sharing Thomas's thoughts. When Robin is out of the hallway and the door of the Task Room is closed. Thomas's mobile phone starts to ring.

THOMAS FALLON (CONT'D)
(over phone)
Thomas Fallon. Give me good news.

KILLER (O.S.)
(electronically distorted)
I'm afraid that I've no good news to give.

THOMAS FALLON
(anger)
You!

KILLER (O.S.)
(electronically distorted)
Calm, calm. Tell the Snapper that the home fires will be burning when he gets home.

The line goes dead. It takes Thomas a minute to draw his attention away from the mobile phone. Thomas's anger fades. Thomas looks to the doors of the task room. Thomas walks slowly to the doors.

INT. VIOLENT CRIMES UNIT TASK ROOM -- NIGHT

Thomas pauses down at the doorway of the Task Room, he takes a deep breath and walks up to Don, Robin, John, and Eddie are.

THOMAS FALLON
(strong)
Guys and gal, get your armor and then meet me in front of the station, five minutes.

Without question Don, Robin, and John move to leave the Task Room. When they leave Thomas stands near Eddie, and then helps Eddie to his feet. Eddie is very concerned.

EDDIE PARKER
(concern)
Thomas? What is it?

THOMAS FALLON
We're going to your place. I don't know what to expect, but you try to run and I'll shoot you.

Eddie is more worried now.

EDDIE PARKER
(pleading)
Just tell me Vera is okay. Please?

Thomas leads Eddie out of the room in silence. Thomas places his hand on Eddie's shoulder, and Eddie bows his head as they walk out of the room.

EXT. RESIDENTIAL STREET -- NIGHT

The streets of the residential area have row upon row of terraced houses. On one road, Moyglare Road, a house is burning, and there are two fire units present. The area around the house is cornered off, all the neighbors have come out to see the firemen at their work. The fires reach high into the night. The house is Eddies house, number 53. Two teams of Two firemen work hoses, sprouting water through the area were there once were windows. Three firemen come out of the house.

All three are wearing oxygen masks, the first man out rushes out, the second and third are carrying the dead and unburned body of Vera Parker. An ambulance pulls up, the FIRST FIREMAN out of the house goes straight to the SCENE COMMANDER.

FIRST FIREMAN
(gasping)
She was gone before we got in.

SCENE COMMANDER
(uninterested)
Smoke got her then!

FIRST FIREMAN
I don't think so, someone crushed her windpipe.

This statement causes the Scene Commander to face the First Fireman.

SCENE COMMANDER
(sarcastic)
And you know all this with your years of post mortem's.

FIRST FIREMAN
Bet you a years salary they don't find smoke damage to her lungs.

The Scene Commander looks to where the other two firemen are placing Vera's dead body onto a trolley supplied from the paramedics. The two paramedics, with their sterile gloves, check Vera's non existant vitals, once the exam is over, the paramedics cover Vera's body with a white sheet. The Scene Commander looks back to Fireman One and see's the sincereity in Fireman One's eyes. Fireman One's is exhausted.

SCENE COMMANDER
(earnest)
No! I won't take that bet.

INT. BACK OF POLICE WAGON -- NIGHT

With it's sirens blazing, the Police Wagon is moving quickly. Present in the Wagon are Eddie, John, Thomas, Robin, and Don, who are wearing bullet proof gear, with helmet's. John takes a deep breath and removes his helmet. Thomas does not look happy. Eddie is facing Thomas. Thomas keeps staring at Eddie. A look of impending doom is plastered on Eddie's face.

DON LARK
(to John)
You'd be better off with that on Major.

JOHN HARRIS
(calm)
If she's there I want my vision at one hundred percent. She's not getting away again.

Don smiles, Robin is concerned.

JOHN HARRIS (CONT'D)
(to Robin)
This is just a show of power you know.

ROBIN SHERMAN
Don't you mean terror?

JOHN HARRIS
(smiling)
You call it one thing I another. Half the worlds leaders live in fear of snipers.

ROBIN SHERMAN
And the other half?

JOHN HARRIS
Who do you think gives us our orders?

Thomas looks out the window of the Wagon.

THOMAS FALLON
We're two streets away. Driver stop!

The Wagon stops suddenly.

THOMAS FALLON (CONT'D)
(to John)
You work your way to the house, you can't miss it.

John draws his gun, and then gets out the back of the Wagon, leaving his helmet behind. Without a word, John closes the door and is gone.

THOMAS FALLON (CONT'D)
Continue on Driver!

Thomas notices that Eddie has his hands folded together, and is whispering a prayer to himself.

THOMAS FALLON (CONT'D)
(angry)
You'll call for anyone's help before your friends.

DON LARK
Sir! I don't think this is the time.

Thomas turns his sight from Eddie, and gives Don an apologetic look. Thomas turns and looks out the window.

EXT. RESIDENTIAL STREET -- NIGHT

There is only one fire engine remaining and the barriers have been removed. The fire has now died, but the paramedics are still there. The firemen who are still there are putting out the final small smouldering pockets of fire in the house. The Police Wagon pulls up to Eddie's house, parking on the far side of the remaining fire engine. All the neighbors have gone back into their houses. Don and Robin are the first ones out of the Wagon. The Scene Commander is quick to come up to Robin and Don, who are more dressed for a war zone, than for a fire scene. Thomas exits the Wagon. When Thomas is outside he turns back to look into the Wagon.

THOMAS FALLON
(to Eddie)
You don't move, not until I tell you to.

The Scene Commander looks into the Wagon, and sees Eddie.

THOMAS FALLON (CONT'D)
(to Scene Commander)
Is the arson inspector here?

SCENE COMMANDER
She's on her way, who are you?

Thomas takes out his badge, as do Robin and Don. The Scene Commander gives the badges careful reading. The badges retreat back into their respective owners pockets. Thomas looks into the back of the Wagon at Eddie. A look of sympathy comes over Thomas's face. Robin and Don walk to the smoking house.

THOMAS FALLON
Were there any victims to the fire?

Eddie moves to the edge of the doorway of the wagon. Thomas knows that Eddie is moving but does not react.

SCENE COMMANDER
One. A woman. But it looks as though someone got to her before the fire or the smoke.

Eddie's head drops and quiet tears start to fall. The Scene Commander walks away, Thomas turns to Eddie.

EDDIE PARKER
(heart broken)
I'm sorry. Why didn't the fuck come after me?

THOMAS FALLON
(sympathetic)
I don't know anything anymore. Vera was a good friend. I'll miss her. C'mon, out, go to her.

Eddie goes from the Wagon, and walks slowly and sadly to the Ambulance. Thomas watches Eddie's movement to the Ambulance. The Paramedics are tendering to the Ambulance and when Eddie comes over they give him attention, and one of them lowers the cover down over Vera's face. Eddie lowers himself to his knees, pain and sadness are his only companions now. As tears flow down Eddie's face he starts to remove the helmet on his head. As the helmet rises, a laser pointer matches its rising. The Helmet is now completely off, and the laser point is just above Eddie's ear.

EDDIE PARKER
(distraught)
Babe. I'm so sorry. I'll make this right, I promise.

A silent shot is launched and a bullet travels through Eddie's head. Eddie is frozen where he is kneeling for a moment. It takes his dead body a couple of seconds to fall to the ground. Everyone rushes around Eddie's dead body. Don, Robin, and Thomas form a parameter around Eddie's body, their weapons are drawn pointing in different directions.

ROBIN SHERMAN
(panicking)
Where is John?

THOMAS FALLON
(suspicious)
I don't know. I don't know.

INT. WOMEN'S DORM IN STATION HOUSE -- MORNING

Edna Sherman is sitting on a bunk bed in her dressing gown, drinking coffee. Robin enters and is still dressed in the helmet and flak jacket. Edna lowers the cup of coffee to the floor and looks to her daughter. Robin starts to break down in tears, Edna stands and goes to her daughter to comfort her. Edna puts her arms around Robin, and Robin returns the gesture. Robin starts to cry, but there is a level of control to the tears.

EDNA SHERMAN
(comforting)
One of the uniformed police officers told me. I'm deeply sorry love.

Robin releases herself from the hug, and starts to take off the helmet and the flak jacket. Edna steps back to give Robin some space.

ROBIN SHERMAN
Eddie and Vera, closest thing I've had to an Aunt and Uncle.

There is a knock at the dorm door, and without waiting for an answer Thomas enters the dorm.

THOMAS FALLON
Sorry to interrupt, Robin, we need you. When you are ready.

Robin gives a brave face smile and leaves the dorm without looking to Edna. Edna turns her back to Thomas and sits down on the bed. Thomas has something on his mind.

THOMAS FALLON (CONT'D)
They treating you alright here?

Edna looks up at Thomas.

EDNA SHERMAN
I do as I please, it's Robin's peace of mind. What's on yours?

THOMAS FALLON
(smiling)
The past.

EDNA SHERMAN
Ah, the past.

THOMAS FALLON
Why did you keep her secret from me?

EDNA SHERMAN
To keep you from making me repeat an earlier sin.

THOMAS FALLON
That sin I regret more than anything.

EDNA SHERMAN
But not more than anyone, that burden is mine alone.

THOMAS FALLON
Well, I better get back to work, more self loathing to be done.

Thomas leaves and Edna lays down on her back on the bed.

INT. VIOLENT CRIMES UNIT TASK ROOM -- MORNING

Don and Robin are alone in the Task Room. Don is typing on his computer, Robin is staring into space, lost in her grief. It takes Don a second glance at Robin to realize that he should say something.

DON LARK
Robin?

Robin does not awknowledge Don, part of Don does not want to continue, but he does.

DON LARK (CONT'D)
Robin?

ROBIN SHERMAN
(still lost)
You know when I first told my Dad that he was my Dad, Eddie was the only one of his friends that didn't treat me like a dirty secret.

Thomas enters the Task Room. There is a silence as he looks to Don and Robin.

THOMAS FALLON
Has John checked in?

DON LARK
No Sir. You think the sniper has him?

THOMAS FALLON
To be honest Don, part of me hopes that he has.

ROBIN SHERMAN
(coming out of herself)
Why would you say that?

Don gets up and walks over to Robins desk, Thomas moves closer to Robins desk also. Don is curious, while Thomas is more thoughtful.

THOMAS FALLON
I think that our military friend may have some explaining to do.

DON LARK
You think he's involved?

THOMAS FALLON
Maybe. We know he can't be the Killer. But perhaps he knows more than he's letting on.

The door of the Task room bursts open and John comes in, a nasty wound on his arm is bleeding. The wound is a gun shot wound. John holds a rag to the wound, to try and control the bleeding. John still wears most of the body armor, but there is a lot of blood.

JOHN HARRIS
(weak)
I didn't want to risk going to a hospital.

John collapses to the ground. Thomas rushes to John.

THOMAS FALLON
(urgency)
Get the medics!

Robin picks up the phone, Don joins Thomas at John.

INT. PATHOLOGY LAB -- MORNING

The medical examiners room, john lies on one of the tables, his arm wound is cleaned and dressed, he is stripped to the waist. Thomas is leaning against another table, his gun is drawn, but pointed at the floor. John starts to stir from his sleep and opens his eyes. It takes a moment for John to remember what happened to him, still groggy, he lifts his good arm and feels the dressing on the wound of his other arm.

THOMAS FALLON
You shouldn't mess with that.

John gives Thomas a unimpressed look, and then sits up on the side of the table. When John sits up there are a couple of old bullet wounds that are visible to Thomas. John spots the gun in Thomas's hand and the looks to his wound.

JOHN HARRIS
Why the gun?

THOMAS FALLON
If you don't mind, I have some questions.

JOHN HARRIS
Shoot away.

THOMAS FALLON
(unemotional)
How did you get shot?

JOHN HARRIS
I had her, she had taken one shot at the photographer, but somehow she heard me, and got a shot off first.

THOMAS FALLON
Did you get a shot off?

JOHN HARRIS
Yes! I hit her too, she won't be taking any more shots.

THOMAS FALLON
You killed her?

JOHN HARRIS
No, I wounded her shoulder, no way she can use a sniper rifle now. So, what's the gun for?

Thomas looks done at his gun and then puts it back into its holster.

THOMAS FALLON
It was in case I didn't like your answers.

JOHN HARRIS
So you believe me then?

THOMAS FALLON
(honest)
You're still breathing aren't you.

Thomas leaves the room.

INT. EMPTY WAREHOUSE -- MORNING

Edna Sherman is being strapped to a large pole by the Killer. The pole is in the centre of Warehouse. The Warehouse is empty, dusty, and damp. Edna is gagged and her arms are tied to pole above her head. Edna is wearing her bed clothes. The Killer is in pain and keeps checking her shoulder. Edna strains against the ropes and tries to scream, but is muffled by the gag.

KILLER
(calm)
No need to scream for help, I'm going to call help for you.

A complete look of fear is now in Edna's eyes.

INT. VIOLENT CRIMES UNIT TASK ROOM -- AFTERNOON

Thomas, Don, and John are sitting down next to the map, now with Eddie's and Vera's photos on it. The three men are sitting in silence, concentrating on the map.

THOMAS FALLON
The profile is worthless, we've never had a female serial before.

DON LARK
She can't join a gun club, it'll draw attention to her, where does she practice.

JOHN HARRIS
She's a hunter, stalking her prey.

Thomas stands up and a terrifying look in on his face, as though he is finally realizing something.

THOMAS FALLON
We looked for a common thread, there is none, these people were just target practice.

John smiles, he is understanding Thomas's logic.

JOHN HARRIS
In the field, your target is flesh and blood. Newbies aren't given big targets. They start off with easy kills.

DON LARK
I don't understand.

THOMAS FALLON
She's not been killing, she's been testing herself, working her way up to the bigger goal.

Don realizes what is being said.

DON LARK
Us! We're the bigger goal.

Robin comes running into the Task room, straight to Thomas, Don, and John. Robin is very upset.

ROBIN SHERMAN
Mom's gone. The Dorm's been ransacked.

Thomas, Don, and John all look to each other, then they and Robin leave the Task room in a charge.

INT. WOMEN'S DORM IN STATION HOUSE -- AFTERNOON

Robin is the first one into the Dorm, the Dorm is wrecked, there was a struggle in there. Thomas, Don, and John follow Robin in.

THOMAS FALLON
(disbelief)
Mother of God!

DON LARK
This can't happen, there must be twenty cops in this building at any one time.

THOMAS FALLON
At least twenty.

Robin sits down on the side of the only bed that hasn't been overturned. John looks around the room, moving items to look under them.

DON LARK
(to John)
Don't touch anything, we may get a print.

John stops looking. John walks back to near Don and Thomas.

JOHN HARRIS
If our theory is right, this is a lure, to draw us out.

DON LARK
Like with Paul?

Robin turns and is very angry.

ROBIN SHERMAN
Hey, my Mother is out there with this nut job.

Thomas puts his arm around Robin, but she just shrugs it off her..

THOMAS FALLON
(to Don and John)
Guys, can you give us a moment?

Don and John leave Thomas and Robin in the Dorm.

ROBIN SHERMAN
She's going to kill Mom isn't she?

THOMAS FALLON
(reassuring)
I'm not going to let that happen. She's your mother, and for no other reason I care for her.

ROBIN SHERMAN
I know that she cares for you too.

INT. VIOLENT CRIMES UNIT TASK ROOM -- AFTERNOON

Don and John are sitting in front of the map. Thomas and Robin enter, but this does not disturb Don and John from the map.

THOMAS FALLON
(to Don and John)
Lads, we need to find out what is going on.

JOHN HARRIS
The case study, it shows that this one will contact us soon.

ROBIN SHERMAN
So what's going on is just patience?

Thomas and Robin take their seats next to Don and John. A COURIER comes into the Task Room, carrying a large padded envelope. Don stands up and goes to greet the Courier.

DON LARK
Can I help you?

COURIER
(reading from envelope)
I'm looking for a Thomas Fallon.

Thomas stands up and walks down to the Courier. Don returns to his seat near the map.

THOMAS FALLON
I'm Fallon.

The Courier hands the envelope to Thomas. The Courier is nervous, once Thomas has the envelope the courier turns and leaves quickly. Thomas is curious and opens the envelope slowly. A video tape slides out of the envelope into Thomas's hands. Thomas takes the tape and puts it into the Video. The tape starts to play and immediately there is an image of Edna bound and gagged to the pole in the middle of the empty warehouse. Edna is struggling and still trying to scream. Robin, Don, and John gather behind Thomas. They all watch dumbfounded, though its more shocking for Robin. The tape zooms in on Edna's face and shows dried tears.

KILLER (O.S.)
(electronically distorted)
Welcome one and all. Now the end is near, if you wish to save this woman, the three remaining VCU members and their sniper friend will come to the Forest Green Warehouse, in the Dublin mountains.

Don moves to the map to look for the locations.

KILLER (O.S.) (CONT'D)
(electronically distorted)
If I spot one other police vehicle, I'll put a bullet between her eyes and then one for each of you in turn. Once you show up, you can release her, you have until six o'clock. See you all soon.

The tape stops. Thomas turns and looks at Robin.

THOMAS FALLON
(calm)
Don't worry, we're going to play along, we're going to bring her home.

JOHN HARRIS
(curious)
One thing I don't understand, why still use the voice changer?

THOMAS FALLON
That's interesting. But we have work to do, get your things together, we go in five minutes.

INT. DON LARKS CAR -- EVENING

Don is driving the car, Robin is sitting beside him. Robin is preparing clips for the guns. In the back, Thomas and John are doing the same thing as Robin. Thomas is taking his time, while John is fast.

THOMAS FALLON
(hushed)
John? Once Edna is clear you locate and kill this bitch. No matter what happens, don't let her leave.

JOHN HARRIS
(honest)
No matter what it takes or how long she is living on borrowed time.

Don looks quickly at the amount of clips being prepared and a smile comes over his face.

DON LARK
(joking)
What do you say after we've finished with the PMS Queen, we go and overthrow Saddam in Iraq.

A brief moment of laughter.

JOHN HARRIS
(mocking)
Sorry Don, but I've got dibs on that one.

EXT. EMPTY WAREHOUSE -- NIGHT

Don's car pulls up to the large entrance door of the warehouse, which is open, but not open enough for the car to pass through. The doors of the car open, and Don, Robin, John and Thomas exit carefully, paying attention to the heavy forest around the warehouse. The security lights attached to the side of the warehouse come on. Now Don, Robin, Thomas, and John are more nervous.

THOMAS FALLON
(calming)
Everybody relax.

JOHN HARRIS
She's throwing us off balance.

DON LARK
(joking)
She seems to be doing it quite well.

Thomas, Don, Robin, and John move towards the entrance, when they get to the doors they stop. Thomas faces Don, Robin, and John.

THOMAS FALLON
Once we're in, we get Edna free, then we hunt, watch your fire.

Don, Robin, Thomas, and John start to go through the door into the inner darkness.

INT. EMPTY WAREHOUSE -- NIGHT

A single light shines above the pole to which Edna is bound. Thomas moves quickly over to Edna, and takes the gag from her mouth.

THOMAS FALLON
Funny, when we were dating you weren't into this.

EDNA SHERMAN
(irritated)
You want to untie me, or are you planning keeping me captive to those awful jokes.

Thomas takes out a switch blade and cuts the bonds that tie Edna's arms up. Edna lowers her arms and shakes off the stiffness.

THOMAS FALLON
(urgency)
Don? Keys!

Don throws the car keys to Thomas, then Thomas hands the keys to Edna.

THOMAS FALLON (CONT'D)
Any idea where she is?

EDNA SHERMAN
Haven't seen a soul since I was tied up.

THOMAS FALLON
Take the car, and don't stop driving until you get to the police station.

As Edna is leave she and Robin hug.

EDNA SHERMAN
I'll see you?

ROBIN SHERMAN
You will. I love you Mom.

EDNA SHERMAN
I love you too.

Edna leaves through the doors. Thomas, Don, Robin, and John stand in silence looking into the darkness, and each click off the safety on their weapons. The sound of the engine off Don's car fades. When there is silence all the lights in the warehouse come on. Thomas, Robin, Don, and John's eyes all adjust painfully to the new light, and they stand closer to each other. A shot blasts the silence and Don falls to the ground, the bullet has passed through his head. Thomas, John, and Robin all hold out there guns trying find a target. Each one of them take a glance at Don.

KILLER (O.S.)
(electronically distorted)
Lower your weapons or Robin is next.

Thomas and John slowly lower their weapons, it takes Robin a minute and when she does lower her weapon it is with reluctance.

KILLER (O.S.) (CONT'D)
(electronically distorted)
Now throw them towards the walls.

Thomas, John, and Robin throw their guns towards the walls. John looks down and sees the gun in Don's dead hand.

A black rope comes down from the ceiling of the warehouse, and the Killer in her black outfit slides down the line quickly. The Killer is holding a small machine pistol. When she is on the ground, she keeps Thomas, John, and Robin covered. The Killer removes the neck gear that changes her voice.

KILLER (CONT'D)
(Normal voice)
That's better.

ROBIN SHERMAN
(thoughtful)
I know that voice, but from where?

KILLER
(jovial)
Of course you do. John knows my face, and you all know my backer.

The Killer takes off her mask. John looks confused. Robin is shocked. The Killer is a woman, just older than Robin.

JOHN HARRIS
(searching)
You do look familiar.

ROBIN SHERMAN
Denise? My Mother's assistant.

KILLER
John, you don't remember me? After all the time we spent together?

JOHN HARRIS
I'm sorry love, I'm drawing a blank.

The Killer shoots at John's feet, narrowly missing.

KILLER
You, Uncle Johnny. My Father's prize pupil, and the one who retired him.

A haunting realization comes over John, then conviction.

JOHN HARRIS
Cormac MacDonald. A traitor!

The Killer once again shoots at John's feet, narrowly missing.

KILLER
You couldn't bring him in? You had to kill him?

JOHN HARRIS
He was selling the names of the snipers, he broke the code.

KILLER
You murdered him, you hunted him down, as I have you.

THOMAS FALLON
This is all revenge for one death?

KILLER
(laughing)
Not one death, two, a daughter avenging her father...

EDNA SHERMAN (O.S.)
(anger)
... and a mother's vengeance for her unborn son.

Edna walks back into the warehouse, she has a pistol pointed at Thomas. Thomas and Robin are horrified.

ROBIN SHERMAN
(total shock)
Mom? What is this?

EDNA SHERMAN
Two years before you were born, your Father and I were pregnant, I wanted the baby, but the budding crime fighter kept at me, twenty four hours a day, until I aborted the pregnancy.

KILLER
You were a hard man to pin down John, I was hired by Edna to kill Thomas. But we came up with a better plan, to take you both, it took longer, but it was worth it.

EDNA SHERMAN
Absolutely.

Robin does not know what to do, she is confused, horrified and emotionally drained.

ROBIN SHERMAN
(child like)
Mommy? What's going on?

THOMAS FALLON
(calm)
Robin, I did what your Mom said, I wasn't ready to be a father.

EDNA SHERMAN
(sickened)
Don't think you will gain absolution now.

THOMAS FALLON
I don't want absolution, did all those people have to suffer and die for my sins?

KILLER
Well, a girls got to practice. Now we go our seperate ways.

The Killer lowers her weapons and moves around behind John. John closes his eyes, preparing himself for a shot in the back of the head.

KILLER (CONT'D)
You have thirty seconds, then I come. Now run!

John looks at Thomas and Robin then sprints out of the warehouse. The Killer looks to Edna and gives her a pleasant smile.

KILLER (CONT'D)
It's been a pleasure to work with you.

EDNA SHERMAN
And you.

KILLER
(to Robin)
You're a lucky girl to have such a loving Mother.

The Killer runs out of the Warehouse.

THOMAS FALLON
So, what happens now?

EDNA SHERMAN
I get the pleasure of your death.

ROBIN SHERMAN
Then me too?

EDNA SHERMAN
No! I'd never hurt you, when he's dead, I'm dead.

Edna takes aim and shoots Thomas in the stomach. Thomas doubles over and falls to the ground, on top of Don's dead body. Edna smiles but then is brought into thought.

EDNA SHERMAN (CONT'D)
I've realized I can't leave you in this world alone.

Edna turns and aims at Robin.

ROBIN SHERMAN
(scared)
Mom! No!

EDNA SHERMAN
I'm sorry.

A loud bang as Edna is shot in the head. Thomas has used Don's gun to kill Edna. Edna falls to the ground. Robin watches in horror, and then goes to Thomas. Thomas is in an extreme amount of pain, but still alert.

THOMAS FALLON
I'm glad I was shot by your Mom, not the other one.

ROBIN SHERMAN
Dad, I'll get you help.

THOMAS FALLON
The hell you will, one of our team needs help.

Thomas hands Robin gun.

THOMAS FALLON (CONT'D)
When you're finished, you might think of getting an ambulance up here.

Robin smiles. Robin heads quickly out the door of the warehouse, Thomas lies down, holding the bullet wound in his stomach.

EXT. THE FOREST -- NIGHT

The Killer is running through the dark forest, she stops suddenly and aims the machine pistol around, there is silence. From a near tree, John falls down on top of the Killer, the machine pistol is knocked from her hand into some heavy overgrown bush. John and the Killer start to trade blows, and each hit the bullet wounds, trying to cause each other as much pain as possible. The Killer takes out a ten inch knife and tries to stab John, but John takes the knife from her and stabs her in the thigh. This makes the Killer more aggressive and she reaches behind her and slowly takes the knife from her thigh and sticks it into John's shoulder. The Killer twists the knife in the wound. John scream in agony. Silently from behind the Killer, Robin sneaks up, and puts the barrel of the gun to the back of the killers head. The Killer lets go of the knife, and backs slowly up.

KILLER
Guess Mom didn't do her duty.

ROBIN SHERMAN
She didn't, now it's my turn.

KILLER
Well, pull the trigger, lets get this over with.

Robin smacks the Killer in the back of the head with the butt of the gun. The Killer is knocked out, Robin moves in and puts handcuffs on the Killer.

ROBIN SHERMAN
(confident)
You are going to pay. John, can you walk?

John is taking the knife from his shoulder, with a lot of pain.

JOHN HARRIS
(weary)
I think so.

ROBIN SHERMAN
Go back to the warehouse and tend to my Father, I'm going for help.

John stands.

JOHN HARRIS
What about her?

ROBIN SHERMAN
I'll drag her to Don's car.

JOHN HARRIS
If she tries anything shoot her.

John moves as fast as he can back to the Warehouse. Robin watches John go into the darkness. The Killer starts to wake. Robin helps the Killer to her feet and with one quick move, the Killer knocks Robin off balance. Robin falls to the ground and tries to quickly recover, the Killer moves with a limp, but quickly. When Robin has made it back to her feet she fires shots into the darkness, but the Killer is gone.

INT. HOSPITAL ROOM -- AFTERNOON

2 DAYS LATER.

Thomas is asleep in a hospital bed, machines are all around him. Robin has her head on the bed, she is sitting on a chair. Robin is also asleep. There is a knock on the door and Robin startles awake. The door opens and John walks in. Robin is relieved. John steps in and stands on the opposite side of the bed to Robin.

JOHN HARRIS
How is he?

THOMAS FALLON
(eyes closed)
Trying to get some sleep.

Thomas opens his eyes.

THOMAS FALLON (CONT'D)
It'll be a while before I'm back in active service.

Robin stands up.

ROBIN SHERMAN
(to John)
Any word on our friend?

JOHN HARRIS
I've been ordered to find her.

THOMAS FALLON
You going to bring her in?

JOHN HARRIS
Those aren't my orders.

THOMAS FALLON
Happy hunting.

Thomas falls into sleep.

ROBIN SHERMAN
He's been doing that a lot, you be careful.

JOHN HARRIS
She'll never see me coming.

Robin looks at Thomas, and when she looks back up John has already gone.

ROBIN SHERMAN
Happy hunting.

The end.