BLIND SPOT

Neil Stratton


EXT NICK'S OFFICE  DAY

A car drives through the drizzling rain and pulls up outside a
nondescript building.  Lara Chadwick emerges, her stylish dress
contrasting with the drab surroundings.  She stands there a
moment, without coat or umbrella, apparently unconcerned by the
weather.

Her eye goes on the upstairs window where Nick Bramble stands
looking out.  She smiles to herself.

INT  NICK'S OFFICE  DAY

The office of Bramble Investigations, consisting of little more than
a desk, filing cabinet, laptop and coffee-maker.

Lara knocks and enters.  She sits down without invitation.  Nick
remains standing by the window.

LARA
Lara Chadwick.

NICK
Coffee?

LARA
Thanks but I have an appointment.

NICK
I didn't think you believed in them.

Lara ignores the jibe, instead eyeing a pile of electronic
components in the corner, including what looks like an overgrown
flash-bulb.

LARA
You like to tinker.

NICK
You like to notice things.

Lara takes a photo from her purse and hands it to him.

LARA
My daughter Ingrid.

NICK
Missing?

LARA
No.  Attractive, wouldn't you say?

He realises she's studying his reaction and attempts to return the
photo, but she waves this aside.

NICK
The word I'd use is trouble.

LARA
Why?

NICK
Because in my experience, attractive
daughters of rich women usually are.

LARA
It's not your experience I'm after.

NICK
Meaning?

LARA
The others I've seen have all been
ex-cops with a paunch.

NICK
And that's relevant to the case?

LARA
Yes.  I want you to seduce my
daughter.

Nick gives a short incredulous laugh.

NICK
You want me to investigate what
she's like in bed?

LARA
If you really were that crude, I
wouldn't have considered you.

Their eyes lock for a moment.

LARA
My daughter is engaged to a man
with underworld connections.  I want
the marriage stopped.

NICK
Like I said, trouble.

LARA
I thought you specialised in trouble.

NICK
No, I specialise in staying out of it.

LARA
That would explain why you have
plenty of time to study the weather. 
Perhaps you should become a
meteorologist.

She places a card on his desk.

LARA
Call me.

She leaves without waiting for a response.

INT  CHADWICK HOUSE  NIGHT

DINING ROOM

The Chadwicks are at dinner.  Presiding at the head of the long
table is James, a genial round-faced man somewhat older than his
wife, seated on his left.  On his right is their younger daughter Holly. 
Next to her is Ingrid, who looks up from her meal to fix on Nick,
opposite, a penetrating stare.

INGRID
So tell me, what's your advice?

NICK
Advice?

INGRID
You do advise people, don't you?
Isn't that what you do to Mother?

NICK
So we're talking finance?

HOLLY
Well if you want my opinion and
you're getting it anyway, people with
money should spend it, and those
without should move to a tropical
island, where they can live on
coconuts for free.

JAMES
Holly is renowned for her practical
streak.

Ignoring her family, Ingrid fires another scornful question at Nick .

INGRID
Will you charge me for asking?

NICK
The best advice is by Dickens, and it's
free.  Save more than you spend.

JAMES
What are your thoughts on shares?

LARA
James has the rare ability to
completely defy the odds.  He loses
money on all occasions.

JAMES
It's a  hobby, you know.  People
always lose money on their hobbies.

HOLLY
I don't see why you need advice, Ingy.
You're marrying Eliot and he can
make money in his sleep.

INGRID
And how do you know his sleeping
habits?

HOLLY
Mother, she's being disgusting.  I
thought I was the only one allowed to
be disgusting.

JAMES
Just because you have a talent for it,
my dear, doesn't mean we
encourage it.

LARA
Her fiancé owns a nightclub.  Not
normally the source of great wealth,
but Eliot has obviously mastered the
black art of alchemy.

INGRID
Thank-you, Mother.  She would have
me marry someone boring like a
doctor or a lawyer.

 JAMES
Had a friend once, a little off-colour,
trundled off to the doctor and got
told he had six months to live.  Who
needs that?

NICK
So he survived?

JAMES
No, got hit by a bus the next day.  The
shock, you see.  Not paying attention.

Holly turns to her father.

HOLLY
Why don't you ask Eliot about
shares?   Or Ingy could pump him.

JAMES
He doesn't believe in them.

HOLLY
You mean like some people don't
believe in alien abductions?

INGRID
Do you?

HOLLY
I keep an open mind.

INGRID
As in vacant, space to let.

NICK
So what's his secret?

JAMES
He never talks about stuff like that. 
He's the mysterious sort.  Girls go for
that sort of thing.  Look at Ingrid.

Ingrid pulls a long-suffering face.

LARA
All we get from Eliot is that it's a
numbers game.

JAMES
And that's where I fall down.  At
school, maths and I never got on. 
Except for pi r squared.  Always had
a soft spot for pi r squared.

LIVING ROOM

Ingrid and Holly have gone out.  James has settled into a large
armchair in the corner with headphones and a glass of port.  Nick
and Lara sip coffee.  As though suddenly remembering the guest,
James takes off the headphones and turns to Nick.

JAMES
You listen to CCR?

NICK
My father used to play them.

JAMES
Well this is John Fogerty years on.  It
chugs along pleasantly enough, but
it's not until he starts singing about
the swamp that it really explodes into
life.

He swirls his glass around reflectively.

JAMES
It's a funny thing, Bramble.  He grew
up in San Fran, but his roots are in
the Louisiana swamps.

He returns to his headphones.  Lara waits until he starts tapping
time before speaking.

LARA
Well?

NICK
Well what?  It was a disaster.

LARA
Nonsense, she likes you.

NICK
It didn't feel that way.

LARA
For an investigator, you're not very
observant.

NICK
I noticed this.  She's in love with Eliot. 
It was in her voice when she spoke
about him, and in her eyes.

LARA
She's in love with love.

NICK
So how do I compete?

LARA
Pique her, Mr Bramble, pique her.

EXT  CHADWICK LAWN  DAY

Nick and Lara sit under a sun umbrella sipping iced drinks while
Holly whoops and hollers around her father as they play croquet.

LARA
That girl.  She's the only one I know
who turns croquet into a blood sport.

Nick glances at his watch.

NICK
The librarians must be holding your
daughter hostage.

LARA
She knew perfectly well you were
coming.  I believe the little minx is
playing games.

NICK
Or simply avoiding me.

Lara raises an eyebrow.

LARA
You expected her on a plate?

Nick doesn't reply.

LARA
Never mind, there's always the ball. 
She can't avoid you there.

NICK
Yeah, along with croquet, that's my
world.

LARA
It's not Eliot's either but he still
landed Ingrid.

NICK
With his croquet swing?

LARA
Holly ran rings around him.  Literally,
the silly girl.

NICK
Then I guess he must tango up a
storm.

LARA
The eye of the storm, more like.  He's
a minimalist.

She sighs.

LARA
And speaking as the only one in this
family who can tango, I assure you
there are worse things than not being
able to dance.

INT  BALLROOM  NIGHT

DANCE FLOOR

Ingrid, radiant in an off-the-shoulder creation, moves through the
crowd greeting friends. 

MEZZANINE

Lara and Nick watch Ingrid from above.

LARA
Ravishing, don't you think?

Nick doesn't reply, but instead fiddles with his jacket.

LARA
Relax.  You can hardly tell it's a rental.

NICK
I haven't seen her dance with Eliot.

LARA
He owns a nightclub, remember.  
He's more used to watching others
dance.

DANCE FLOOR

Eliot stands in a corner talking to one of his henchmen.  His
languid air hides the sharp alertness in his eyes.

MEZZANINE

Lara turns to Nick.

LARA
What are you waiting for?

NICK
The right moment.

LARA
I believe that's now.

NICK
Why?

LARA
Because I'm paying you.

DANCE  FLOOR

As Nick approaches Ingrid, she turns around unexpectedly and
they almost collide.

INGRID
Oh it's you, Mr Persistent.

NICK
You can call me Nick.

INGRID
Somehow I imagined this wasn't your
thing.

As if to emphasise the point, she straightens his bow-tie.

INGRID
But silly me, this wasn't your idea. 
Mother obviously dragged you along.

NICK
May I please have the honour of this
dance?

INGRID
That's a taught phrase.  Nobody talks
like that.

NICK
That's not an answer.

INGRID
Imagine if I said yes.  Now that really
would make for a tangled web.

NICK
Why?

INGRID
You're my mother's escort.  I'm not
in the habit of dancing with Mother's
escorts.

She brushes past him.  Nick grabs her arm.  She swings round,
eyes flashing defiance.

INGRID
Either kiss me or let me go.

Nick kisses her.  At first she's too surprised to react, then she
quickly breaks off.

INGRID
That wasn't very smart.  Eliot's here.

NICK
Then I suggest you plead momentary
insanity.

INGRID
He's more likely to believe yours is
long-lasting.

She marches off.

Lara joins Nick.

LARA
I said pique her, Mr Bramble, not
manhandle.

NICK
She thinks I'm in the escort business.

LARA
Obviously quoting Dickens has its
limitations in establishing financial
credentials.

NICK
You chose the cover.

LARA
Because I thought you had the
required bluff and bravado.  It
appears we need a new approach.

NICK
Yes, approach someone else.  I'm
quitting.

LARA
We had a deal.

NICK
I only agreed to trial.

LARA
So when do you start trying?

Nick walks out.

EXT  CITY STREET  NIGHT

Nick trudges aimlessly through the misty rain.  He pays no
attention to a car with tinted windows that pulls up alongside.  Two
men jump out while the driver keeps the engine idling.  They drag
Nick into an alley.

EXT  DARK ALLEY  NIGHT

Thug # 1 holds Nick's arms pinned behind his back while Thug # 2
addresses him.

THUG # 2
We got a message for you.

NICK
So have I.  That's a no-parking zone.

THUG # 2
Funny guy, huh?

He knocks Nick's head sideways with a back-fist.

NICK
Critic, huh?

Thug # 2 eyeballs him.

THUG # 1
Just get on with it.

THUG # 2
He provoked me.

NICK
And it wasn't even a challenge.

Thug # 2 pulls out his gun.

THUG # 1
Hey, he said no guns.

THUG # 2
Yeah but this guy's stupid.  How else
we gonna get through?

THUG # 1
Just tell him.

Thug # 2 reluctantly puts his gun away.

THUG # 2
I speak, you listen.

Seconds pass.

THUG # 1
Whacha doin?

THUG # 2
I'm handling this.

THUG # 1
So forget the dramatic pause.

NICK
He's waiting for the beep.

Thug # 2 whips out his gun again and holds it against Nick's
temple.

THUG # 2
Don't hang around where you're not
wanted.  Got that?

NICK
Yeah, you don't love me no more.

THUG # 1
Told ya we shoulda just kicked shit
outa him.

Thug # 2 delivers a spring-loaded punch to the stomach.  Thug # 1
lets Nick go and he crumples onto the ground.  They both start
kicking him.

EXT  CITY STREET  NIGHT

The driver rolls down the car window.

DRIVER
Hey, move it.

EXT  DARK ALLEY  NIGHT

Nick hears fading footsteps, then screeching tires.  He lifts his
head groggily and fumbles for his cellphone.  He rings then leaves
a message.

NICK
It's Bramble.  I'm back on the case.

The cellphone clatters onto the ground and he sinks into
unconsciousness.

INT  ELIOT'S NIGHTCLUB  NIGHT

Nick enters, his face a map of bruises.  He does a rapid scan.  It's
a quiet night.  He goes to the bar.

NICK
Scotch me.

The bartender observes his face then slowly shakes his head.

BARTENDER
Sorry.

NICK
I prefer my sympathy in the form of a
scotch.

BARTENDER
I don't want any trouble.

NICK
If a drink's too much trouble, you
could always re-open as a playcentre.

The bartender signals to a bouncer, who's had his eye on Nick
ever since he entered.  He comes over.

BOUNCER
Time to leave.

NICK
I get it.  You want me to spread the
word this place is a cheap night out.

BOUNCER
The face.  Not good for business.

Nick glances around.

NICK
I'd say business isn't good for
business.

He turns back to the bartender.

NICK
You won't forget to put my idea in the
suggestion box?

He feels a large hand clamp his shoulder.

BOUNCER
You wanna go quietly?

NICK
If the alternative is karaoke, then yes.

He starts to leave then stops, as though remembering something.

NICK
Your boss in?

BOUNCER
What's it to you?

NICK
I have a message.

BOUNCER
Maybe he doesn't wanna hear it.

NICK
Maybe it'll rain tomorrow.  Maybe you'll
win the lottery and be able to afford
that brain implant you've always
dreamed about.

BOUNCER
You're gonna regret that.

BARTENDER
Hey, just let him speak, then we can
be rid of him.

NICK
Thanks ol' buddy, I knew you'd come
through for me.

BOUNCER
You got ten seconds.

NICK
Make it three.  That way you can
count it.

The bouncer grabs him by the collar.

BARTENDER
We're listening.

NICK
Tell Eliot the wedding's off.

The bouncer continues his grip.  Nick doesn't flinch.  He pushes
Nick away.  Nick leaves.

EXT  PARK  DAY

Ingrid's on a bench reading.  A shadow falls across her face.  She
looks up and sees Nick.

NICK
Hi.

INGRID
Hi yourself.

He sits down beside her.

INGRID
So now you're following me?

NICK
Your mother suggested you might be
here.

INGRID
What is it with you and my mother? 
It's starting to weird me out.

NICK
She's concerned about you, that's all.

INGRID
Me?  I'm fine.

NICK
You and Eliot.

Ingrid sighs and returns to her book.  He waits.  She throws it
down.

INGRID
Okay, what about me and Eliot?

Nick still doesn't say anything.  She studies the bruises.

INGRID
What happened to your face?

NICK
The wind changed.

Ingrid continues staring.

NICK
What's your book?

INGRID
Art History.

NICK
Eliot's favourite subject.

Ingrid eyes him scornfully.

INGRID
What's a flying buttress?  And please,
no kick-ass jokes.

NICK
It takes the load from a roof, so a
wall can be things like stained glass.

INGRID
Okay, so it's Eliot who would've made
the kick-ass joke.  You think I want to
marry an art historian?

NICK
Well somebody's got to, or they'll
become extinct.

INGRID
Anyway, what qualifies you to judge
my choice of fiancé?

NICK
They teach it in Finance 101.

INGRID
Really?

NICK
Yes, marriage is a contract with
financial implications.

INGRID
Tell my mother she can plot and
scheme all she likes, it won't change
a thing.  I love Eliot and I'm going to
marry him.

She packs up her books and storms off.

INT  CHADWICK DINING ROOM  NIGHT

The Chadwicks are at dinner, joined by Eliot and Nick.  Eliot has
brought a magnum of champagne, which he pours.  As he tops up
the last glass, James seizes the initiative.

JAMES
Everybody raise your glass.

They all do so.

JAMES
I'll keep it short because nobody likes
to keep champagne waiting.  To
Ingrid and Eliot, and their happiness
together.

Holly is a chorus of one.

HOLLY
Ingy and Eliot.

She tries to clink glasses.

INGRID
It's not Auld Lang Syne.

HOLLY
Well then, can I propose a toast?

LARA
As long as it's not something silly.

HOLLY
Damn.

They all drink.

JAMES
I'm rather looking forward to having a
financial genius in the family.  Not
that my grandfather, who started 
Chadwick Furniture, was any slouch
in that line, but you know what they
say - lightning never strikes twice.

LARA
Yes, Eliot, you must tell us your
secret.

Eliot smiles at her coolly.

ELIOT
Hard work.

HOLLY
That is so boring and thoroughly
deserves to be kept secret.

LARA
What's your opinion, Nick?  Is
success solely due to hard work?

INGRID
Mother, you're grilling.  My turn for
a toast.  To love, wherever we may
find it.

She smiles at Eliot.

HOLLY
And to Auld Lang Syne.

She quickly clinks glasses with everyone.

ELIOT
What about you, Nick?  How's
business?

He indicates Nick's still puffy face.

ELIOT
From a dissatisfied customer?

NICK
No, someone told a joke and I fell
over laughing.

ELIOT
Bramble Investigations.  That's an
interesting name for a financial
consultancy.

All eyes go on Nick.

INGRID
Is that true?

NICK
Yes.

INGRID
Is that why you're here?  To spy on
us?

NICK
No.

INGRID
Why should we believe you?  Or
anything you say?

HOLLY
Because I bet he only deals in juicy
murders.

LARA
I hired him to investigate some
financial irregularities in a company I
have interests in.  Now no more
questions, or I won't be the only one
accused of grilling.

INT  ART GALLERY  DAY

Nick joins Lara, who's seated by a large stone sculpture.  Neither
speaks for a moment.

NICK
How did he find out?

LARA
You went to his nightclub.  There are
cameras.  He has contacts.

NICK
You've spoken to him?

LARA
I said I was vetting him, as I would
anyone marrying my daughter.

NICK
His reaction?

LARA
Oh he gave one of those smarmy
smiles and said he had nothing to
hide.

NICK
Meaning he's confident there's
nothing we can pin on him.

LARA
Anyway, that's not why I called you
here.

She takes an envelope from her purse and hands it to him.

NICK
What's this?

LARA
Final settlement.

NICK
Why?

LARA
My daughter is now more determined
than ever to go through with the
wedding.

NICK
So that's it?  You're giving up?

Lara doesn't deign to answer.

NICK
Or have you got someone else?

LARA
That's my business.

She stands up.
 
LARA
Goodbye, Mr Bramble.

NICK
What if I continue the case?  Without
payment.

LARA
That would not be wise.  Have you
looked in the mirror lately?

She walks off without waiting for a response.

EXT  NIGHTCLUB ALLEY  NIGHT

The side entrance to Eliot's nightclub.  Nick waits in the shadows. 
Eliot approaches with Mitchell, a stocky pock-faced man, whose
expensive well-tailored suit in no way lessens his menacing air.

Nick snaps Mitchell's picture with his cellphone then starts walking
the other way.  He finds his path blocked by two of Eliot's henchmen.

He manages to send the image as an email just before one of the
henchmen grabs the phone, throws it to the ground and stomps
on it.

NICK
Let's not be playground about this. 
Why don't you just ask Eliot to buy
you one for Christmas?

Mitchell turns to Eliot.

MITCHELL
You know this scumbucket?

ELIOT
The guy's a loser, but he's harmless.

He faces Nick.

ELIOT
For once in your life, do the smart
thing.

NICK
You got my message?

ELIOT
You got Lara's?  The one about
being fired?

MITCHELL
I don't understand why you're still
talking to him.  Why don't you just do
this?

Nick has a momentary flash of Mitchell's fist then everything goes
black.

INT  NICK'S APARTMENT  NIGHT

Nick's at his computer, flanked by a glass of wine on one side and
an ice-pack on the other.  On screen is a somewhat blurry photo of
Mitchell.  He clicks on an icon and the image resolves into a
sharper version.  He nods.

NICK
Yeah, that's you.

He clicks on another icon and the screen flickers as it churns
through head-shots.

NICK
C'mon, you're in here somewhere.
You couldn't stay out of trouble if you
tried, and I bet you never tried.

A new image appears with a caption.  Nick smiles.

NICK
Scientist, yeah right.

He clicks again and waits.  Another image soon pops up.

NICK
Politician.  I see where you're coming
from, but no.

He re-starts the search and holds the ice-pack to his cheek.  He
takes a sip from his glass and settles back in his chair, prepared
for a long night.

INT  RESTAURANT  NIGHT

Ingrid and Eliot look deep into each other's eyes over their
candle-lit dinner.  Eliot sighs, breaking the mood.  Ingrid feels
around her mouth.

INGRID
Have I got something?

Eliot shakes his head, his attention focused above her shoulder. 
She turns around.  Nick gives a cheery wave.

ELIOT
Dangerous game you're in.  What are
you working on now?

NICK
The case of the missing brain.

ELIOT
Ah, then you've hired yourself.

Nick places a photo on the table, which Eliot ignores.  Ingrid picks
it up and studies it.

INGRID
Who's this?

NICK
Brent Mitchell.  Otherwise known as
Mitch the Enforcer.

Ingrid turns to Eliot, who smiles mirthlessly.

ELIOT
Bramble's fanciful nickname.

INGRID
But you know him?

ELIOT
I know a lot of people.  I know
Bramble but I wouldn't vouch for him.

Ingrid can't resist a smile then checks herself.

NICK
He was had up for murder.

ELIOT
That so?  I heard he was clean.

NICK
Because the witness died.  Maybe it
was an act of God.  Yeah, that's it,
he has God on his side.

ELIOT
You should consider running for
office.  You do a good smear
campaign.

Ingrid glances between the two men, as if trying to decide.

ELIOT
I know you were hired by Lara to
discredit me.  I also know she fired
you.

Ingrid seems surprised by this last bit.  She waits for Nick to deny
it.  He doesn't speak.

INGRID
I think you should go.

She holds out the photo for Nick to take back.  He walks off
without it.

EXT  FINCH'S OFFICE  TWILIGHT

After hours in a deserted run-down part of town.  Nick snaps
Mitchell as he enters the dingy premises of Finch, a small-time
loan-shark.

Nick snaps him again as he re-emerges just moments later, then
quickly ducks back into the shadows.

INT  FINCH'S OFFICE  TWILIGHT

The walls are lined with photos of race-horses.  A high-mounted
TV is showing a race with the sound off.  Finch is slumped over his
desk in a pool of blood.

Nick enters and rushes over.  Finch raises his head and makes a
gurgling sound.  His throat has been punctured.  Nick hammers
numbers on his cellphone.

FINCH
Mitchell.

NICK
Don't speak, I'm calling for an
ambulance.

FINCH
Late.  Listen.

Nick turns pale but holds his cellphone up to Finch's mouth.

NICK
Okay, I'm recording.

INT  CEMETERY  TWILIGHT

An old overgrown cemetery, where the twisted branches of trees
reach out like claws.  Lara treads warily through the autumn leaves. 
Even so, she gives an involuntary jump as Nick steps out from
behind a tree.

NICK
Didn't mean to scare you.

LARA
No?  Then why this time and place?

NICK
It's so old no-one comes here
anymore.

He smiles.

NICK
I mean apart from the ghosts.

LARA
Sometimes it's the living who haunt
us, Mr Bramble.  I understand
Mitchell was refused bail.

NICK
He's taken out a contract.

LARA
On you?

NICK
Yes.

LARA
You're certain of that?

NICK
Not dead certain, no.  I don't want to
be dead certain.  I had a tip-off.

LARA
The police obviously don't share your
concern.

NICK
I refused their offer of protection.

LARA
Why?

NICK
The last case against Mitchell was
dropped because the witness died
before he could testify.  He was in a
police safe-house at the time.

LARA
You think Mitchell has an inside
contact?

Nick notes her scepticism and shrugs.

LARA
The police allow their star witness to
roam free?

NICK
Finch is the star witness.  They have
his voice recording.

LARA
So why would Mitchell want you
dead?

NICK
Because that's what he does to
people who cross him.

LARA
If you'd followed my instructions, you
wouldn't be in this situation.

NICK
Why is Eliot suddenly your friend?

LARA
He's not.  But I've realised two things. 
Firstly, my opposition only increases
my daughter's determination.  And
secondly, having dubious connections
doesn't make Eliot a gangster.

She pauses.  Nick watches her with
impassive expression.

LARA
I know his background, and I know 
what it's like when the right people
won't deal with you.

She gives a short, almost bitter laugh.

LARA
Yes, Mr Bramble, I wasn't born to
money.

Nick nods, unsurprised

NICK
The over-correctness.

Lara smiles.

LARA
I'll never have my daughters' casual
insouciance.

NICK
Your background isn't the issue, and
I don't see why you're comparing
yourself to Eliot.

Lara's tone sharpens.

LARA
I don't believe he was in any way
involved in Finch's death.  Do you
think I would have my daughter marry
a murderer?

NICK
I'm not saying he's implicated.  But
he does hang out with murderous
thugs.

LARA
He wants to leave that world behind
him.

NICK
How do you think he gets his money?

LARA
I don't know.  Some sort of financial
wheeling and dealing.

NICK
Including money laundering?

LARA
He's promised to give it all up.

NICK
And do what?

LARA
I love my husband dearly, but he's no
businessman.  We need Eliot's street
savvy.

Nick gives a derisive snort.

NICK
So he's to become Mr Furniture Man?

Lara looks at him coldly.

LARA
If you insist on putting it like that.

NICK
Why?  Why would he?

LARA
Because he loves my daughter.  Isn't
that enough?

NICK
No.

LARA
What would you do for love?  Or have
you never faced that dilemma?

Nick smiles, suddenly understanding.

NICK
You've done a deal with him.

Lara doesn't react.

NICK
So what was I - a pawn in your
strategy?

LARA
It would be best if you left town for a
while.

NICK
Is that a threat?

LARA
Really, Mr Bramble.

Nick shrugs and kicks at some leaves.

LARA
It's an offer.  Name your price.

NICK
Why?  I assume you're not thinking of
my safety.

LARA
I don't want you causing any trouble
at the wedding.

Nick looks away.

NICK
So she's still going through with it?

Lara sighs.

LARA
You've fallen for her, haven't you? 
Even though you knew it was just a
job.

NICK
Is that why wanted to become rich? 
So you could buy people?

He walks off.  She calls after him.

LARA
Mr Bramble, please.  We can discuss
this.

Nick keeps walking.

EXT  STREET  TWILIGHT

Nick walks along a lonely stretch of road.  A taxi rolls up alongside. 
The driver lowers the window, his face in shadow.

DRIVER
Wanna ride?

NICK
I'm okay thanks.

DRIVER
Suit yourself.

He starts to move off.  Nick changes his mind and calls out.

NICK
Wait.

INT   TAXI  TWILIGHT

The driver glances a few times in the mirror at Nick, waiting for him
to speak, but Nick just stares vacantly out the window.

DRIVER
Where to, Buddy?

NICK
Downtown.

DRIVER
Your car broken down?

NICK
Sort of.  I'm doing some work on it.

DRIVER
You don't look like a mechanic, no
offense.

NICK
Who does?  It's all electronic now.

DRIVER
Tell me about it.  They don't fix things
anymore, they replace 'em.  But who
replaces my wallet?

Nick doesn't answer, returning to the window, but the parade of
images doesn't register.  Suddenly he realises they've entered an
industrial wasteland.

NICK
Why are we going this way?

DRIVER
'Cause I go where the traffic don't
flow.  Hey, that's a cool slogan.  I
should be in advertising.

Nick tries to open the window, then the door.

NICK
Why is everything locked?

DRIVER
People jump without paying.  Nothing
personal, but I gotta make a living.

NICK
I'll pay you.  Just stop the car.

DRIVER
In this part of town?  You crazy?

NICK
No, crazy is if you don't stop the car
now.

Instead the driver increases his speed.  Nick puts on his
sunglasses.
 
DRIVER
Hey, whatcha doin?

In answer, Nick takes out his light-bomb from his jacket and sticks
it onto the glass partition with plasticine.

NICK
Smile for the birdie.

A searing white light fills the car.  The driver swerves in panic,
sending the car into a skid.  It flips over, rolling several times
before coming to rest upright.

Nick quickly undoes his seatbelt and tries the door.  It's jammed
shut.  He takes off a shoe and uses it to smash the window.

He puts his shoe back on and glances up.  The driver, though
temporarily blinded, has found his gun.  It swings from side to side,
like a snake about to pounce.

Nick takes a coin from his pocket and throws it against the other
still intact window.  Two loud shots reverberate through the cab. 
He dives outside.

EXT  TAXI   TWILIGHT

Nick runs from the taxi.  Further shots ring out around him.

INT  CHURCH  DAY

The wedding guests rise to their feet as Ingrid enters, radiant in
her bridal gown, her proud father on her arm.  At the altar, Eliot
turns and breaks into a relieved smile.

EXT  WILD SURF BEACH  DAY

Nick treads the shallows as the waves crash around him.

INT  CHURCH  DAY

Ingrid and Eliot are about to take their vows.  Basking in the
moment, Eliot doesn't notice the troubled look in Ingrid's eye.

MINISTER
We are gathered here in the sight of
God to join this man and this woman
in holy matrimony.  If anyone knows
of any reason why they may not be
joined together, let that person speak
now or forever hold their peace.

Ingrid turns around, desperately searching for a face that isn't
there.

MINISTER
Do you, Eliot ...

INGRID
I can't.

Eliot gently takes hold of her hand.

ELIOT
Ingrid...

INGRID
No, I'm sorry.  I can't.  I can't.

She runs down the aisle, setting off a ripple of murmurs.  They
suddenly die away as everyone turns back to Eliot, now like a
marble statue.

EXT  WILD SURF BEACH  SUNSET

Lara treks along the seemingly deserted beach, the pounding
surf surging forward to grab her, then falling back in vain.

Nick comes up from behind and starts walking alongside.  She
keeps looking straight ahead.

LARA
The rabbit comes out of his hole.

NICK
C'mon, it's a great setting.

LARA
But can you get a decent coffee?

NICK
No, but you can drink in the unspoilt
beauty.

LARA
I'm here to talk, not admire the view.

NICK
Some people can do both, and for
an encore chew gum.

LARA
If you offer me gum, this meeting's
over.

NICK
Last time we met, you were followed.

LARA
How do you know?

NICK
Someone tried to kill me.

LARA
Who?

NICK
A taxi-driver.  I never quite got to see
his face.

LARA
We've all been there.  Never make
the mistake of telling them you're in a
hurry.

NICK
So now we've got the pleasantries
out of the way, why are you here?

LARA
Because you finally checked your
cellphone messages.

NICK
I thought our business was
concluded.

Lara looks at him for the first time, studying his expression.

LARA
The wedding's off.

Nick takes a moment to digest this.

NICK
Why?

LARA
Why do you think?

NICK
You're blaming me?  I wasn't even
there.

LARA
So?

NICK
So what am I missing?

Lara sighs disdainfully.

LARA
My daughter is a woman, Mr Bramble,
and women are obviously more
complicated creatures than you
imagine.

Nick shrugs.

NICK
Please send Eliot my condolences.

LARA
She wants to see you.

NICK
You hired me to do a job.  It's done. 
We're done.

Lara sighs again.

LARA
It's not about you and me.  It's about
Ingrid.

Nick gives a short bitter laugh.

NICK
You would rather she married
someone like Eliot than get involved
with someone like me.

Lara waits a moment before replying.

LARA
Please see her.

NICK
Like I said, attractive rich girls are
trouble.

LARA
I'm not one to beg, Mr Bramble, so
you can see what I'm reduced to.

NICK
What's your ulterior motive?  Because
you're lonely without one.

LARA
She needs to get on with her life.
She can't do that until she sorts
things out with you.

NICK
I still get the feeling I'm a pawn in
some weird mother-daughter
collusion.

LARA
I'm sure a suspicious nature has
value in your line of work.  You
shouldn't let it rule your personal life.

INT  CHADWICK LIVING ROOM  NIGHT

Ingrid's by the window looking wistfully into the night.  Eliot enters
and stands watching her without speaking.  She slowly turns
around and faces him awkwardly.

INGRID
Thank-you for coming.

ELIOT
You know I'd do anything for you.

Ingrid moves in closer.

INGRID
After what I did?

Eliot looks away a moment, then mastering himself, turns back
and smiles.

INGRID
I know I don't have any right to ask
this of you.

ELIOT
I'll never stop loving you.

Ingrid avoids his eye.

INGRID
You do understand it's over between
us?

ELIOT
Relax, I'm not here to pressure you.

Ingrid nods gratefully.

INGRID
I'm sorry.  I'm sorry for everything.

Eliot holds up his palm , signalling 'enough'.  She takes a deep
breath.

INGRID
It's Mitchell.  Nick thinks he's after
him.

ELIOT
Mitchell is in jail.

INGRID
I know but Nick claims he's taken a
contract out on him.

ELIOT
I no longer have any association with
Mitchell.  And even if I did, I wouldn't
have any influence.

Ingrid looks into his eyes searchingly.

INGRID
There's nothing you can do?

ELIOT
Yes, I could put him up in a
safe-house.  But he'd have to trust
me.

Ingrid grimaces.

INGRID
Right now, he doesn't even trust his
own shadow.  Besides, the police
have already offered that.

Eliot smiles, savouring the irony.

ELIOT
I'm not the police.

Ingrid reflects.

INGRID
How do I convince him?

ELIOT
If you think he's worth it, I'm sure
you'll find a way.

Ingrid nods.

INGRID
Again, thank-you.

Eliot waves this aside and takes out a small box from his jacket
pocket.

ELIOT
Since you returned my ring for
reasons I won't question, allow me to
give you this.

INGRID
Eliot...

ELIOT
It's only a token, a memento.  Please. 
Or would you destroy our past as
well as our future?

He opens the box, revealing a silver pendant with a black disc
centrepiece.

ELIOT
It represents the sun and moon,
because that's what you are to me.

Ingrid begins shaking her head.

INGRID
Eliot, no, I can't.

ELIOT
It's all I ask for helping you.  Think of
it as an amulet, because love
protects.

Ingrid falters.   He unclasps the chain and holds it up.

ELIOT
Forget what I said about it before,
that's too much to put on a simple
trinket.  It's silver because our first
kiss was by the light of the moon.

Ingrid's eyes moisten.  She finds herself slowly nodding.  He puts
the chain around her neck and fastens it.
 
She closes her eyes.  She imagines him coming closer, his lips
about to touch hers.

ELIOT
All I ask.

He turns and goes out.  She opens her eyes, surprised at his
sudden departure, and even more surprised at her own weakness. 
She clutches the amulet and closes her eyes again, remembering.

INT  RESTAURANT  DAY

James sips his port and toys with his napkin.  He sees Nick enter
the restaurant and waves eagerly to him.  Nick nods in
acknowledgement but continues checking the room for some
moments before joining him at the table.

NICK
You weren't followed?

JAMES
No.  Shame really.  I had all these
plans for evasive action.  Not that I
have a car like my namesake.

NICK
Chadwick?

JAMES
James.  Are you a Bond fan,
Bramble?

NICK
We could discuss films,  or we could
talk about why you wanted me here
so urgently.

James hands him a menu.

JAMES
Eat first.  Nothing like
cloak-and-dagger to bring on the old
appetite.

Nick puts the menu aside and waits.  James sighs.

JAMES
It's Ingrid.

NICK
What's happened?

JAMES
She called off the wedding, you know.

Nick leans back in his chair.

NICK
Yes I do.  Is that it?

JAMES
If we don't act now, I'm afraid it'll be
too late.

NICK
We?

JAMES
Well you, really.  She never listens to
me.

NICK
What is it you want me to do?
 
JAMES
Persuade her to marry Eliot.

Nick smiles in disbelief.

JAMES
I know he's a bit of a rogue but then
so was my grandfather.  You have to
be something of a buccaneer to
succeed in business.  That's where I
fall down.

NICK
Eliot's more than that.

James leans forward, confidingly.

JAMES
The firm isn't doing so well.  We need
him.

NICK
What about Ingrid?  She doesn't love
him.

JAMES
Wedding jitters, Bramble.  Hell, even I
had them and I knew Lara was the
best thing to happen to me.

Nick considers a moment.

NICK
If you can't convince her, how can I?

James drains his glass, then studies it.

JAMES
I'm a disappointment to her, you
know.

NICK
She's very fond of you.

JAMES
Maybe.  Maybe.  But not like Holly. 
Holly is happy with me the way I am. 
Ingrid would like me to be more like
my grandfather.

He gets up from the table and speaks into Nick's ear in passing.

JAMES
Have a word to her eh, Bramble?

He goes off to pay his bill, encountering Ingrid on the way.  He
pauses to give her a quick peck on the cheek.  Seeing her, Nick
stands up but she motions him down, and sits down herself.  Nick
follows, though with extreme reluctance.

NICK
So, I've been set up.

INGRID
Sorry about the subterfuge, but
would you have come otherwise?

Nick doesn't respond.

INGRID
He honestly believes you'll try and
talk me into marrying Eliot.

NICK
But obviously you don't, so why are
you here?

INGRID
Eliot isn't in league with Mitchell.  He
genuinely wants to help.

She waits.  Nick doesn't blink.  She raises an expectant eyebrow.

NICK
Okay, you want me to ask how.

INGRID
He's offering a safe-house.

Nick laughs.  She looks at him, hurt.

INGRID
Eliot knows if anything happened to
you, I'd never forgive him.

NICK
So he's still in with a chance?

Ingrid tosses her hair imperiously.

INGRID
I'll marry whoever I damn well like,
regardless of what you may think.

NICK
Thanks but no thanks.

He gets up.  Ingrid grabs his hand, pulling him back down.

INGRID
Don't you understand?  If anything
happens to you, I'll feel responsible.

NICK
I understand that being here with you
is putting both our lives at risk.

He gets up again.  This time Ingrid lets him go.

EXT  RESTAURANT  DAY

Ingrid catches up with Nick on the street.

NICK
I don't need another shadow.

INGRID
Hey, I get it.  Here's not good for you. 
We'll go somewhere else.

NICK
No.

INGRID
Now listen, a girl's gotta eat.  All I had
for breakfast was one lousy coffee. 
Actually the coffee was great and I
also had a piece of toast, but that
doesn't count because I don't want it
to.

Nick stops dead and turns to her with a 'what?' expression.

INGRID
I know I know, I'm babbling.  It's
because this isn't going how I
imagined.  We haven't talked things
out.

Nick grabs her hand and hauls her off.

INGRID
I feel like pancakes.  With maple
syrup and lashings of whipped cream. 
Not that I'm a whipped cream fiend,
it's purely about the presentation.
We go down here.

Nick keeps walking straight ahead.

INGRID
You missed the turn-off for the
pancakes.

NICK
I'm taking you home.

INGRID
So what have you got against
pancakes?  What have pancakes
ever done to you?

EXT  CARPARK  DAY

They arrive at an open-air parking lot.  Ingrid stares in disbelief.

INGRID
You parked here?

NICK
Yes.

INGRID
Well that's very secretive.

NICK
Hey, parking's a bitch.

Ingrid spots his car and heads towards it.  He pulls her back.

NICK
Wait.  Let me check it first.

He takes out a remote control device from his pocket and aims it
at his car.

INGRID
So how many channels does your car
have?

NICK
It'll tell me if it's been tampered with.

He presses a button.  The car erupts in a ball of flame.  Ingrid turns
to him incredulously.

INGRID
You just blew up your car.

NICK
It needs a little fine-tuning.

Ingrid grabs his arm and marches him away.

NICK
Where are we going?

INGRID
My car.

NICK
Your father didn't bring you?

INGRID
No.

NICK
And you didn't think to mention this
earlier?

INGRID
It never came up in conversation.

Nick looks at her.  She gives a careless shrug and continues her
brisk pace.

INT  UNDERGROUND CARPARK  DAY

Nick's feet project from underneath Ingrid's car.   She paces
impatiently.  He surfaces.

NICK
I could really do with a torch.

INGRID
Well I don't have one.

NICK
So what do you do if you get a flat
tire at night?

INGRID
I use my cellphone.  Would you like to
borrow that?

Nick stands up, looks at the car then gives his verdict.

NICK
I think it's okay.

INGRID
Of course it is.  I wasn't the one who
was followed.

Nick holds out his hand.

INGRID
You want me to congratulate you?

NICK
Keys, please.

INGRID
Like hell.

Nick raises an eyebrow.

INGRID
It's my car, and if anyone's getting
blown up, it's me.

NICK
Do you have any idea how ridiculous
you sound?

INGRID
Yes.  You've successfully dragged
me down to your level.

Nick studies the car again.

NICK
I think it's okay.

INGRID
You already said that.

NICK
I'm trying to convince myself.

INT  INGRID'S CAR  DAY

They cruise along the highway, Ingrid shooting glances at Nick,
who remains oblivious.

INGRID
So now you're not talking to me?

NICK
I'm just trying to figure out why my
remote triggered the detonation.

INGRID
So you really believe there was a
bomb?

Nick eyes her scornfully.

NICK
Have you ever heard of anyone
blowing up their TV with a remote?

INGRID
So you use this thing on your TV as
well?

NICK
No, it transmits radio, not infrared.

INGRID
Then they're different, so I must be
right.

Nick sighs.

NICK
How much electronic theory do they
teach in Art History?

Ingrid gives him an arch look.

INGRID
So tell me, how does your
anti-tamper device work?

NICK
Well basically, it uses sensors.

INGRID
Beams?

NICK
Yes.

INGRID
Infrared?

NICK
Yes.

INGRID
Like a TV remote?

Long silence

NICK
Okay, maybe - just maybe - the
infrared set it off.

Ingrid smiles in satisfaction.

INGRID
Just as well I take Art History, or we'd
never have figured it out.

Nick looks out the side-window.

INGRID
So where are we going, anyway?

NICK
Find the nearest rental-car place.

INGRID
What's wrong with this?

NICK
It's yours.

INGRID
Again, I wasn't the one followed.

NICK
Okay, let's suppose no-one was
followed.

INGRID
And where does that get us?

NICK
Someone already knew about the
restaurant and had the whole area
staked out.

INGRID
Well I never told anyone.

NICK
Neither did I.

Short silence.

INGRID
I see.  You're accusing my father.

NICK
Only of being naïve.

INGRID
In what way?

NICK
He trusts Eliot.

INGRID
Whereas you don't trust anyone.  My
father, the police, Eliot - anyone guilty
of the crime of trying to help you.

NICK
I did trust your father.  That's why I
didn't park further away.

Another silence.

INGRID
I'm sorry about your car.

NICK
We weren't that close.

Ingrid hits the button to lower all the windows.

NICK
What are you doing?

INGRID
Pretending it's a convertible.  I always
wanted a convertible.  Daddy says
they're not safe.  A friend of his was
killed when one flipped.  A lot of
Daddy's friend's meet untimely ends. 
Be Daddy's friend at your peril.

Nick nods.

NICK
I know what this is.

INGRID
What?

NICK
Delayed shock.

INGRID
No, I was shocked at the time.  I just
didn't let on.

NICK
Slow down anyway.

INGRID
And let those mean baddies catch
us?

NICK
Where are you going?

INGRID
No idea.

NICK
So what happened to the rental car?

INGRID
It didn't pan out.

NICK
What's to pan out?  You drop me off,
end of story.

INGRID
Once upon a time there was a rental
car.  And it lived happily ever after. 
Some story.

Nick stares at her.

NICK
Are you high?

INGRID
I nearly died.  Of course I'm high.  On
life.

LATER

Ingrid enjoys the countryside scenery, while Nick pays it little
attention.  He turns to her suddenly.

NICK
What about your parents?

INGRID
Thanks for reminding me.   My
cellphone's in the glovebox.

NICK
No cellphones.  Use a payphone.

INGRID
Oh sure, there's one in every field.

NICK
The next service station.

INGRID
There's some binoculars in there too. 
You might want to watch out for spy
satellites.

NICK
The cellphone uses an open
frequency that can be picked up on a
scanner.  Then it's like a homing
device.

INGRID
Your remote, how good is it at
zapping guided missiles?

Nick sighs.

NICK
This is going to be a long trip.

EXT  SERVICE STATION  DAY

Nick leans against the car while Ingrid makes a call inside the shop. 
She comes out and joins him.

NICK
What did you tell them?

INGRID
That I was going away for a dirty
weekend.  And don't think that
means you're getting any. 

NICK
Who said you're my type?

INGRID
Oh you have a type.  How quaint.

She slips inside the car, still smiling.

INT  INGRID'S CAR  DAY

They pull away from the service station, Ingrid again at the wheel.

INGRID
So what is your type?

Nick doesn't answer.

INGRID
Let me guess.  Big tits, small
conversation.

Still no reaction.

INGRID
Feel free to jump in at any time.

More silence.

INGRID
I see.  You prefer wallowing in your
existential angst.

NICK
Existential angst?  Now who's being
quaint?

INGRID
Okay, so I picked that up in twentieth
century litt.  What was she like?

NICK
Who?

INGRID
Your last girlfriend.

NICK
We broke up.

INGRID
What, you both went snap?

NICK
She broke up with me.

INGRID
Well that's her in a nutshell.  The
break-up sort.

NICK
I lost my job as a court reporter.  She
didn't hang around.

INGRID
So P.I. wasn't your first choice. 
Figures.

NICK
Yeah?

INGRID
Yeah, you like to tinker.  You
should've been a tinker, not a spy.

Nick groans.  She shrugs.

NICK
I'm not a trained cop like the others,
so I have to improvise.

Ingrid smiles.

NICK
What?

INGRID
Nothing.

She smiles again, much to Nick's annoyance.

EXT  INGRID'S CAR  NIGHT

They pull up outside a cheap motel with a neon sign flashing
'ACANCY'.

INT  INGRID'S CAR  NIGHT

Nick glances at the motel.

NICK
You want to stop here?

INGRID
Spelling isn't everything.

NICK
I think we're being followed.

Ingrid eyes him sceptically.

INGRID
Really?

NICK
Black SUV.

INGRID
It's hard not to be followed by black
SUV's.

Nick looks at her without replying.

INGRID
Did you get the number?

NICK
No, it hangs back.

INGRID
Like now?

NICK
Yes.

INGRID
I can't keep driving.  I'll fall asleep at
the wheel and kill us both.

NICK
How many times have I offered to
take a turn?

INGRID
Too many.  Besides, you'd be too
busy checking the rear vision to
notice the oncoming truck.

Nick doesn't deign to respond.

INGRID
Look, it's not a place I'd choose for
my honeymoon, but since we're not
on our honeymoon, what's your
problem?

NICK
Okay, but we park a couple of streets
away.

INGRID
All right, I'm not going to fight this. 
Your paranoia is bigger than the both
of us.

INT  MOTEL ROOM  NIGHT

Nick sits by the window, peering out through the blinds.  Ingrid
enters wearing a towel, her wet hair plastered around her
shoulders.

INGRID
Guess what?

NICK
Your new look.

Ingrid mouths the word 'ha'.

INGRID
We didn't shop.

NICK
Tomorrow.

Ingrid kneels down beside him.  He notices the amulet around her
neck.

NICK
What's that?

INGRID
What does it look like?

NICK
An evil eye.

INGRID
The silver's the moon and the black,
the sun.

NICK
Like an eclipse?

INGRID
Yes.  Their conjunction.

NICK
Except in a lunar, it's only the sun's
shadow.

Ingrid ponders.

INGRID
It's in memory of our first kiss.  That's
when I eclipsed all others in his heart.

She sighs.

INGRID
And then I broke it.

NICK
Eliot gave it to you?

INGRID
Yes, as a parting gift.  So sweet.

NICK
So weird.  Almost as weird as you
wearing it.

INGRID
I ran out on our wedding.  It's the
least I can do.

NICK
A pendant for penance.  Could start
a new trend.

INGRID
I'll only take it off when I find a love
that replaces his.

Neither speaks for a moment.  A momentary flash of headlights
brings Nick's attention back to the window.

INGRID
Are you going to be like this all night?

NICK
The black SUV.  It's here.

INGRID
It's dark.  They all look black.

NICK
He's getting out.  He's heading for
the office.

Ingrid pulls him away from the window.

INGRID
Nick, listen to me.

NICK
No you listen.  He's wearing gloves.

INGRID
So?

NICK
It's not cold.

INGRID
Maybe he has a skin condition.

NICK
Or maybe he doesn't want to leave
fingerprints.

Ingrid remains sceptical.  He stands up.

NICK
Grab your things, quick

INGRID
What things?  Remember, shopping?

NICK
Your clothes.

INGRID
They're wet.  I just did my laundry.

Nick goes into the bedroom.

INGRID
Hey.

INT  INGRID'S CAR  NIGHT

Nick drives, while Ingrid sits beside him, still in her towel.  Her
clothes are spread out on the back seat.

INGRID
I can't believe it.  An SUV pulls up
and I'm forced to run naked into the
night.

NICK
A towel isn't naked.

INGRID
Well you try it.  See how you feel.

NICK
How the hell is he tracking us?

INGRID
I don't know but he's at it again.

Nick checks the rear vision mirror.

NICK
Where?

INGRID
In your blind spot.

Nick turns around but sees nothing.

NICK
Very funny.

INGRID
I thought so.

INT  SMALL-TOWN CAFE  DAY

Nick and Ingrid eat an early morning breakfast.  He demolishes his
Eggs Benedict, while she idles over toast.

INGRID
There's something about living in a
small town, don't you think?

NICK
For some people, yes.  For you,
boredom after five minutes.

INGRID
Yes but those first five minutes.  You
can't get those sort of five minutes in
the big city.

Nick puts down his knife and fork and studies her like a doctor
making a diagnosis.

NICK
You do realise you're talking
nonsense?

INGRID
Deprive me of sleep and I become a
treasure-trove of the stuff.  How
about this for my tombstone?  She's
finally resting, never mind in peace.

Nick reaches for his coffee.

NICK
You romanticise small-town life.  You
romanticise Eliot.

INGRID
Why do you keep bringing him up? 
I'm trying to forget him.

NICK
Yeah?  By wearing his pendant?

Ingrid gives him a mocking smile.

INGRID
Jealous?

Nick ignores the remark, instead focusing on the amulet.

NICK
I don't get that black stuff.

INGRID
Funky, huh?

NICK
No I mean, what is it?

INGRID
Well you know, romantic fool that I
am, I didn't take it to the lab to be
analysed.

NICK
Maybe you should.

INGRID
Like when?  See, there's this guy
dragging me across the landscape.

NICK
I didn't ask you to tag along.

INGRID
It's my car.  You're the hitchhiker.

NICK
I'm up for the rental any time.

INGRID
Why are you so keen on ditching me?

NICK
Why are you so keen on danger?

INGRID
Because I'm intrepid.

NICK
No-one calls themself intrepid.

INGRID
Well good.  World-first for me then.

Nick waits.

INGRID
I just want to be like Gwyneth Paltrow
in 'Sky Captain'.

She sighs.

INGRID
Before I met Eliot, everything about
my life was safe.  A girl can get sick
of that.

Nick gives a rueful smile.

NICK
Yes, I seem to remember you didn't
want to know me until I had a killer on
my tail.

She gets up.

NICK
Where are you going?

INGRID
I wish I was storming off after a
passionate argument, but actually I'm
just going over the road to phone
Mother.

EXT  PHONE BOOTH  DAY

Ingrid enters the phone booth, watched by Nick from inside the
café.

INT  SMALL -TOWN CAFE  DAY

Nick sees a black SUV slowly cruise past Ingrid as she talks on
the phone, then park a short distance away.  Nick races outside.

EXT  PHONE BOOTH  DAY

Nick grabs the phone off Ingrid and speaks into the receiver.

NICK
She's safe.  Gotta go.

He hangs up and pulls Ingrid along with him towards her car.

INGRID
The hell?

INT  INGRID'S CAR  DAY

Nick hits the accelerator.  Ingrid stares at him incredulously.

INGRID
How can I be safe?  I'm in the car
 with a madman.

NICK
You didn't see the black SUV?

INGRID
You don't even know the number.

NICK
I think he keeps changing his plates.

Ingrid pulls out her cellphone.

NICK
No cellphones, remember?

INGRID
What does it matter?  Obviously he
can track us regardless.

She glares at him rebelliously but then puts the phone away.  Nick
keeps glancing at her amulet, his suspicions increasing.

EXT  COUNTRY BRIDGE  DAY

Nick stands on the bridge watching the rushing water below. 
Ingrid emerges from the bushes and comes along to him.

INGRID
I thought you'd be revving the engine
impatiently.

Nick continues looking down.

NICK
It's the pendant.

INGRID
What?

NICK
It's sending a signal.

Ingrid laughs.

INGRID
It's an amulet, not an evil eye.

NICK
I mean it's a transmitter, a tracking
device.

INGRID
Too small.  And what about power?

NICK
Micro-battery.

INGRID
It would need to re-charge, to have
any sort of range.

NICK
Solar-powered.  Like they use on
Mars.

Ingrid starts shaking her head.

INGRID
He wouldn't betray me like this.

NICK
You betrayed him.

INGRID
He wants me back.  I saw it in his
eyes.

Nick shrugs.

NICK
Maybe he just miscalculated.

INGRID
What do you mean?

NICK
Sure, he would've given instructions
for you not to be harmed.  But the
killer works for Mitchell, and Mitchell
doesn't take orders from anyone.

INGRID
So?

NICK
The phone booth.  He was going for
you.

INGRID
Why?

NICK
To get to me.

Ingrid takes off the amulet and dangles it over the edge.

INGRID
You want me to drop this in the river?

Nick eyes her warily.

NICK
It's your decision.

INGRID
Fine.  I know Eliot would never put
me in danger.

She puts the amulet back on and swings around defiantly.

INGRID
But if you believe this thing is giving
away our position, you should get the
hell away from me as far as possible.

NICK
I just said that's what the killer wants.

INGRID
Then it looks like we're stuck with
each other.

She tosses her hair and marches back to the car.

INT  INGRID'S CAR  NIGHT

Rain pounds the windscreen.  Nick's at the wheel, straining to see.

INGRID
I thought you said we'd hit town soon.

NICK
I did.

INGRID
So what happened?

NICK
It got stolen by aliens.

Ingrid shakes her head sadly.

INGRID
Most people would just admit they
were wrong.

NICK
Most people are wrong.

INGRID
And why is that?

NICK
I guess it's a running with the herd
thing.  They don't mind being wrong
as long as they've got company.

INGRID
Remember how you accused me of
talking nonsense?

NICK
Accused?  No no, it was high praise.

INGRID
Anyway, it was because I was tired. 
Well now you're exhibiting the same
symptoms.

Nick checks the rear vision mirror.

INGRID
So it's time I took a turn driving.

NICK
He's back.

Ingrid glances around.  All she can see is headlights.

INGRID
Pull over now.

NICK
Not a good idea.

Ingrid grabs the wheel, forcing him to stop off the road.  The SUV
shoots past then disappears around a bend.

NICK
So now what?

INGRID
You could try thanking me.

Nick sighs.

INGRID
Never mind.  Just put your foot down.

Nick revs the engine, without noticeable effect.

INGRID
We're not moving.

Nick gives her a murderous look.

INGRID
What?

NICK
Just as well I bought a torch.

Ingrid opens the glovebox and wordlessly hands him the torch. 
He gets out.

She waits.

He jumps inside, slamming the door against the elements.

NICK
We're stuck in mud.

INGRID
I'll take the wheel and you push.

NICK
We're in too deep.

INGRID
Oh terrific.

NICK
You made me pull over.

INGRID
So you found some mud to get stuck
in just to spite me.

They glare at each other, then stare glumly at the rain attacking
the windscreen.

INGRID
So what do we do?

NICK
Abandon ship.

INGRID
Without coats or umbrellas?  At least
in here we're dry.

NICK
Yeah and sitting ducks when he
comes back.

INGRID
So how is outside better, considering
we're in the middle of nowhere?

NICK
I saw a light.

INGRID
You mean like a hovering spaceship?

NICK
Either that or a farmhouse.

INGRID
I don't believe in farmhouses.

Nick drums his fingers on the steering wheel.  She sighs.

INGRID
Okay, okay.  We'll take your trusty
torch for protection.

EXT  SIDE ROAD  NIGHT

Nick and Ingrid trudge through the rain up the steep side road
leading to the farmhouse.

INGRID
It looks kind of spooky.

NICK
You can see spooky through this
rain?

INGRID
All right, it feels spooky.

Nick doesn't respond.

INGRID
You don't feel it?

NICK
I feel wet.  That's coming through real
strong.

INGRID
What kind of people would live out
here anyway?

NICK
Country folk.  That's why they're
called country folk.

INGRID
What if they're not friendly?

NICK
Country folk are always friendly. 
Unless you annoy them.

INGRID
Like how?

NICK
Well, like trespassing on their land.

INGRID
Isn't this a private road?

NICK
We're here on legitimate business.

INGRID
But technically we're trespassing.

NICK
And technically we're stuck in mud.

INGRID
What if they shoot us?

NICK
Beats dying of pneumonia.

INGRID
So you think they might?

NICK
No.

INGRID
Then why'd you say it?

NICK
Just making conversation.

They continue on their way in silence.

EXT  FARMHOUSE  NIGHT

Tom, a tall gaunt man in his fifties, opens the door on the
bedraggled pair.  He studies them, not speaking.

NICK
Sorry about this but we're stuck in
mud.  Can you help us out with a
tractor?

Tom doesn't react.
 
INGRID
We can pay.  In fact we insist.

TOM
In the morning.

INGRID
Okay let me emphasise that this is an
emergency and we really need to be
on our way.

TOM
In the morning.

NICK
Thanks.  We appreciate that.

Tom disappears inside, leaving the door open for them to follow. 
Ingrid turns on Nick.

INGRID
Great back-up.

NICK
He's a morning person.  He's all
about the morning.

INGRID
What's his problem?  I said we'd pay.

NICK
Yeah, and he was insulted.

INGRID
Well I was insulted by the way he
looked us up and down with those
haunted eyes, but do you see me
complaining?

Nick goes inside.

INGRID
Hey, you walk off, that's like admitting
defeat.  I win, okay?

INT  FARMHOUSE LIVING ROOM  NIGHT

Nick's on the sofa finishing off a bowl of soup.  Ingrid enters,
wearing an oversize check shirt and little else.

NICK
Where's your pants?

INGRID
They made me look like a clown.

NICK
Right, and you're sick of being
typecast.

INGRID
I just don't think the world's ready for
hip-hop goes plaid.

NICK
Sorry, I forgot you were scheduled to
appear on the runway.

INGRID
Why do they call it a runway anyway
when you walk?

NICK
There's some pretty sick
lexicographers out there.

Tom enters with soup for Ingrid.  He gives her bare legs a cool
glance and wordlessly hands her the tray.

INGRID
Thanks.  How far is the nearest
town?

Tom studies her expression before replying.

TOM
You don't know where you are?

INGRID
We're on our honeymoon.  We're just
driving around.

TOM
Hour and a quarter, Miss.

He goes out.

INGRID
He did that deliberately.

NICK
What?

INGRID
Calling me Miss.

NICK
You're not wearing a ring.

INGRID
Well excuse me for improvising.

She sits down and sips her soup.  It takes a moment to register,
then she pulls a face.

INGRID
You could've warned me.

NICK
And missed that look?

INGRID
Well here's another for you.

She screws up her features and pokes out her tongue.

NICK
Lacks the charm and spontaneity of
the first.

INGRID
I'm sure if you survive it, the soup's
very healthy.

She takes another, more tentative sip.

NICK
So how come you've gone from
spooked-out to Miss Chirpy?

INGRID
The hot shower.  It was a revelation. 
I never realised a hot shower could
be such a life-changing experience.

Nick rolls his eyes.  She ignores this and continues her musing.

INGRID
Maybe we could even stay here a few
days.  It might be fun.

NICK
It's a farm, not a theme park.

INGRID
I'm just trying to lighten things up. 
Because you know this (gruff) I'm a
black SUV and I'm hunting you down
(normal) is getting to be a real
downer.

Nick looks troubled, but doesn't respond.

INGRID
All right, I'll get rid of the amulet.

NICK
It doesn't matter now.  The car is a
giveaway to our position.

Ingrid takes a moment to digest this.

INGRID
Well there's only one of him and
three of us.

NICK
He'll have a gun.

Ingrid gives him a sharp look.

INGRID
What are you saying?

Nick decides to keep quiet.

INGRID
You don't have a gun?

NICK
I'm not licensed.

INGRID
But you are a licensed private
investigator?

NICK
Yes.  I mostly do civil stuff.

INGRID
So as long as the hitman is civil, you'll
be in your element.

Nick doesn't reply.  She lets out her breath like a deflated balloon. 
After a moment a glimmer of hope enters her eyes.

INGRID
Gadgets.  You have gadgets.

NICK
Yeah, back home.  You kidnapped
me, remember?

Ingrid considers again.

INGRID
You can use one, right?

NICK
A gun?  I've done time on the range.

INGRID
So let's borrow.  Farmers alway have
guns.

NICK
Yes I'm sure he'd love to arm two
strangers who burst in late at night.

Ingrid despondently returns to her soup.  She soon perks up.

INGRID
This is amazing stuff.  First you hate
it, then you just despise it, but in a
good way.  We should buy the recipe
and market it as crème de
masochisme.

Long silence.

INGRID
We're dead, aren't we?

NICK
No, I'll be staying up keeping guard.

INGRID
You and your torch.

No response.  She starts feeling guilty.

INGRID
I napped in the car.  I'll do the first
shift.

NICK
At least you believe me now.

Ingrid gets up and starts walking around the room.

INGRID
Hey, this place is so damn spooky, I'll
believe in anything.  Like ghosts.  I
now officially believe in ghosts.

NICK
I was talking to him before.  His
name's Tom, by the way.

INGRID
Tom, Tom, honest Tom.  I can live
with Tom.

NICK
The point of the story wasn't name
approval. 

INGRID
Then don't sidetrack me.

NICK
His wife died three years ago.

INGRID
Omigod, there really is a ghost.  Why
would you tell me that?

NICK
I'm explaining the haunted look in his
eyes.  He misses her badly.

INGRID
That would be touching, if it wasn't
scary.  The ghost of Mrs Tom.

She shudders.  Tom enters, unseen by her.

TOM
Your room is ready.

Ingrid jumps and clutches her heart.

NICK
Thanks.

Tom turns to go.

INGRID
Wait.  Um... ghosts.  You don't have
any, right?

TOM
We all live with ghosts.  They're called
memories.

INGRID
No sorry, what I really mean is, are we
safe here?

Tom studies her.

TOM
Are you in some sort of trouble?

Ingrid notices Nick giving her a dark look.

INGRID
Trouble?  No no, it's the isolation.  I'm
not used to the isolation.

TOM
I'm a good shot, Miss.

He goes out.

INGRID
Again with the Miss.  How rude is
that?

Nick remains unimpressed.  She decides to change the subject.

INGRID
Where is our room, anyway?  I hope
we're not in the barn.

NICK
No, it's upstairs.

Ingrid ponders this.

INGRID
There's an upstairs.  Why is there an
upstairs?  Don't you think that's
weird?

NICK
Why?

INGRID
He lives on a hill in the middle of
nowhere.  Who's going to build him
out?

NICK
So he's not into ranch-style.  What's
the big deal?

INGRID
Because we're going to die in an
upstairs room and we don't even
know why it's upstairs.

NICK
We are not going to die.

INGRID
Because you're going to shoot him
with your fingers - bang bang.

Nick takes her firmly by the shoulders.

NICK
You're a survivor.

INGRID
I am?

NICK
Yes.  You survived the soup.

He goes out.  She calls after him.

INGRID
You think if you get me mad, I can't
be scared too.  Well I'm a woman and
we can multi-task.

She suddenly realises she's alone.  She glances around nervously
then hurries out after Nick.

INT  FARMHOUSE BEDROOM  NIGHT

Ingrid sits in the chair by the window.  Nick lies sprawled out on the
bed, fully-clothed.

INGRID
Are you asleep yet?

NICK
No.

INGRID
Why not?

NICK
Because you keep asking.

INGRID
Well if you can't sleep, we may as
well talk.

NICK
Yeah, that should do the trick.

Ingrid narrows her eyes at him and retreats into frosty silence. 
She soon relents.

INGRID
I have a confession to make.

She waits for a response but gets none.

INGRID
I wanted to be an architect.

NICK
Who did you have to knock off for
that?

INGRID
No-one.

NICK
So how is that a confession?

INGRID
It just is.

NICK
And why didn't you?

INGRID
Because I'm like my father.  No
follow-through.

 NICK
You're not like your father.

INGRID
You think?

NICK
Yeah.

INGRID
So what's wrong with my father?

NICK
Nothing.

INGRID
Apart from his follow-through.

NICK
That was you, not me.

He plumps the pillow then crashes down onto it.  He squirms to
get comfortable.

INGRID
We don't have to talk, you know.

NICK
Fine.

INGRID
Because when you think about it,
who wants to spend their last night
on earth talking?

NICK
That's not what I meant when I said
we needed to be ready for action.

Ingrid sighs.

INGRID
Okay, just don't give me the 'we're not
going to die' speech again.

NICK
Look, I only let you take the first shift
because you insisted you were up to
it.

INGRID
Oh you let me.  And who are you to
let me do anything?

NICK
I was hired to protect you.

INGRID
No, you were hired to stop me
marrying Eliot and you couldn't even
manage that.  I had to do the job
myself.

They both fall silent.  Ingrid yawns. 
Nick jumps off the bed.

NICK
Enough.  You're more tired than I am. 
Get some sleep.

INGRID
No.

NICK
Why not?  And please, no more stuff
about women being more sensitive to
sights and sounds.

INGRID
Because I don't want to be left alone.

NICK
What?

INGRID
If you hear something, will you wake
me?  Or will you go and investigate by
yourself?

Nick doesn't answer.

INGRID
Okay, I have an idea.  Lie down.

NICK
Am I meant to be impressed?

INGRID
No, but if you lie down, I'll show you. 
And it's not what you're thinking,
because believe it or not, I do have
some pride left.

Nick hesitates, sees her resolute expression and warily complies. 
She lies down next to him, laying her head on his chest.

INGRID
If you move, I'll wake up.

She snuggles against him.  He remains motionless.

LATER

Nick glances down.  Ingrid's eyes are closed.  She breathes
heavily.  Slowly and with the utmost care, he begins to extricate
himself.  He lifts her head up.  She stirs slightly.  He waits until
she's still again then rolls away and gently lowers her head.  He
checks her eyes.  Still shut.

He gets up off the bed, glances back then creeps over to the
window.  He peers out.

Something goes thud against his back.  He spins around.  Ingrid is
armed and ready with a second pillow.

INGRID
You rotten bastard.

NICK
I didn't leave you alone.  I'm still here.

INGRID
I knew you wouldn't wake me, I knew
it.

NICK
So you were faking.

INGRID
I'm a light sleeper.

NICK
You were faking.

INGRID
All right, I was faking.  But I am a light
sleeper.

Nick glances down at the fallen pillow.

INGRID
Don't even think about it.

Nick eyes her coolly.

INGRID
You wouldn't even get half-way.

Nick feints.  She throws the pillow at him and misses.  He grabs
the one on the floor and rushes her.  He ends up straddling her on
the bed, the pillow against her face.  He removes the pillow and
she taunts him.

INGRID
So now you've got me, what are you
going to do?

Nick's expression turns serious.  He gets off the bed and goes
back to the window.

INGRID
You shouldn't start something you
can't finish.

NICK
This isn't a game.

INGRID
He's not coming.  It's been too long.

NICK
Then you won't mind if I go
downstairs for a drink of water.  I'll try
not to stand on too many squeaky
floorboards.

INGRID
Don't you dare.

Nick takes her by the shoulders and eases her back onto the bed.

NICK
I'm not going anywhere.  Sleep.

INGRID
Promise?

NICK
I promise.

Ingrid makes her eyes as big and round and trusting as she can,
then lies down and snuggles into her pillow.  The attempt  is
short-lived.

INGRID
I can't sleep.  You're hulking.

NICK
I'm what?

INGRID
Looming over me.  Use the chair.

NICK
If I sit down, I'll fall asleep.

INGRID
Horses sleep standing up, you know.

NICK
They have four legs.

INGRID
'Night.

NICK
Yeah.

Ingrid rolls over then is still.

LATER

Ingrid is woken from her sleep by a dull thud.  She jerks up
instantly, her eyes darting around the room.  No sign of Nick.  She
sits there petrified, not knowing what to do.

Slowly she gets up off the bed, all the while listening intently.  She
steps backwards, looking from side to side, then stumbles into a
body.

She whirls around and sees Nick lying on the floor.  Her hand goes
to her mouth, stifling a scream.

She kneels down.  Nick breathes loudly.  She sighs in relief then
angrily shakes him.

He sits up, still groggy.  She slaps him.  He stares, bewildered.

NICK
What was that for?

INGRID
Giving me a heart attack.  I don't
deserve it.  I eat well, I exercise.

Nick leaps to his feet.

NICK
Oh God, did I crash?

Ingrid gets up, maintaining a wounded dignity.

INGRID
When I saw you lying there, I thought
you were dead.

NICK
I'm sorry.

INGRID
If you were drowsy, you could've
woken me.  I'm not an incompetent,
I can keep watch.  But no, you had to
play the hero.

NICK
I'm sorry, okay?

INGRID
How can sorry cut it when I thought
you were dead?

Nick lies down on the bed.

INGRID
What are you doing?

NICK
Taking your advice.  Getting some
rest.  You're on guard.

INGRID
How can you sleep in the middle of
an argument?  How do guys do that? 
Just tune out, like I don't exist?

Nick murmurs as he drifts off to sleep.

NICK
You exist, all right.  Man, do you exist. 
You're the  most existing woman I
know.

His voice trails away.  Ingrid glares at him, then her expression
slowly melts.

INT  FARMHOUSE DINING ROOM  DAY

Early morning.  Nick has finished his breakfast and is waiting for
Tom.  Ingrid's at the table, enjoying her toast.

INGRID
There's something about warm toast
and molten butter, don't you think?  It
practically kisses your lips.

NICK
Only you could find the romance in a
piece of toast.

INGRID
My friends think I'm old-fashioned
because they have things like moss
extract on molecule-thin wafer. Then
see them later on when they're
starving.  Boy do they stuff
themselves with crap.

NICK
I don't get it.  How does lack of sleep
put you in such a good mood?

INGRID
I'm telling you it's the toast.  Oh and
the honey.  This honey is simply
divine.  Do you think he has his own
beehive?

NICK
Yes, and the bread comes from his
own wheatfield.  The water in your
coffee is from a rain-cloud that he
personally seeded in his one-seater.

INGRID
Ay speet on your sarcasm.  Puh.

Tom enters.

TOM
Ready?

NICK
One of us is.

Ingrid ignores him and smiles at Tom.

INGRID
I was just saying your honey is
heavenly.

Tom turns to Nick.

TOM
You've got the keys?

NICK
Yes, but I don't want to leave her
alone.

INGRID
It's true.  Last night I hardly got a
wink.

TOM
I'll get the tractor started.

He goes out.  Nick gives Ingrid a dark look.

INGRID
What?  He was married, he knows
about honeymoons.

Nick shakes his head.

INGRID
Is it because his wife's dead?  Mr
Tough-Guy Detective is really Mr
Oversensitive.  Come back Eliot, all is
forgiven.

NICK
Last night I began to think you
understood our situation.  Clearly I
was wrong.

INGRID
Maybe it's because it's daylight and I
don't see any black SUV's parked
outside.

NICK
If we keep him waiting, he may
change his mind about helping us.

INGRID
Exactly.  You go.  You don't need me.

NICK
You'll keep all the doors locked and
windows closed?

INGRID
Yes yes, now go, or he'll think we're
at it again.

Nick leaves her smirking at her toast.

INT  FARMHOUSE BATHROOM

Ingrid, wrappped in towel, turns on the shower.  While she waits
for it to run warm, she goes over to the mirror and checks her
complexion.

She freezes.  Was that a sound?  A creaky floorboard?  She
spins around.  No-one there.

She quickly closes the shower door and darts behind the
bathroom door.  She waits, ears strained.

The bathroom door slowly opens.  She draws back as far as she
can.

The killer enters with drawn gun.  He moves stealthily towards the
running shower.

Ingrid slips out.

EXT  FIELD  DAY

Ingrid, still in her towel, runs down the steep hill, not daring to look
back.

EXT  ROADSIDE  DAY

Tom on his tractor pulls Ingrid's car out of the mud.  He jumps off
and starts untying the rope.  Nick gets out of the car and joins him.

Tom stops and turns around, staring into the distance.  Nick
follows his line of vision and sees a Range Rover speeding down the
side road.

NICK
Yours?

TOM
Yeah.

Nick has a horrified thought.

NICK
Ingrid.

TOM
No, look.

He points and Nick sees Ingrid in the field running towards them.

NICK
The rope, quick, get it off.

He jumps into the car and revs the engine while Tom finishes
untying.  He pulls up alongside.

NICK
Get in.

Tom shakes his head.

TOM
My rifle's on the tractor.  He won't get
past me.

NICK
Tom, no heroics.  He's a professional
killer.  We'll be okay.

TOM
Go.

Not having time to argue, Nick speeds off.

INT  INGRID'S CAR  DAY

Nick takes off up the side road.  Drawing level with Ingrid, he spins
the car around.

EXT  FIELD  DAY

Ingrid rushes towards the car, but in her eagerness, stumbles and
falls, twisting her ankle.  Nick gets out but she waves him back
inside.  He ignores this and jumps over the fence. 

The Range Rover is thirty seconds away.

He helps her to the fence then stops.

INGRID
Throw me over.

Nick hesitates.

INGRID
You waiting for a better offer?

Nick picks her up and hurls them both over.  They end up sprawled
out in the mud, Nick on top of her.

NICK
You okay?

Ingrid slaps him hard.

INGRID
I am now.

EXT  ROADSIDE  DAY

They pass Tom, standing poised with rifle at the ready.  Nick blasts
his horn in warning.

INT  INGRID'S CAR  DAY

Nick checks the rear vision mirror.

NICK
Get down, you crazy bastard.

INGRID
Don't worry, he's a good shot.

NICK
Yeah, when it comes to rabbits.

He focuses on the road ahead, while Ingrid delivers the running
commentary.

INGRID
He didn't shoot.  Why didn't he shoot?

NICK
I told him not to.

INGRID
You what?

NICK
You want Tom's death on your
conscience?

INGRID
But he's a good shot.

NICK
Like how many people-notches on his
belt?

INGRID
What's your next bright idea?  He's
gaining fast.

NICK
There's a sharp corner ahead.  I'm
going to take it at speed.

INGRID
That's the plan?  Killing us both?

NICK
Don't worry, this little baby hugs the
road.

The car shudders and lurches forward.

INGRID
He's ramming us.  Do something.

NICK
Good.  It means he's not watching
the road.  Just hang tight.

The car receives a second jolt.  It swerves wildly, Nick struggling to
stay on the road.

INGRID
Oh God, oh God, we're gonna die.

She turns and looks forward just in time to see them hit the bend. 
She screams.

EXT  RANGE ROVER  DAY

The Range Rover skids off the road and tumbles down the hill,
crashing into a large tree.

INT  RANGE ROVER  DAY

The killer lies slumped against the wheel.  There doesn't appear to
be a mark on him, then a slow trickle of blood comes out of his left
eyeball.

INT  INGRID'S CAR  DAY

Ingrid removes her hands from her eyes and looks back.

INGRID
I don't see him.  Where's he gone?

Nick looks at her, as if noticing for the first time.

NICK
What is it with you and clothes?

INT  MOTEL ROOM  NIGHT

Ingrid comes out in her towel.  Nick switches off the TV.

NICK
It was on the news.  They reckon he
could've survived if he'd been wearing
his seatbelt.

INGRID
It doesn't make sense.  He patiently
stalks us, then totally blows it.

NICK
You got him mad.

INGRID
Me?

NICK
You had the nerve to escape from
right under his nose just when he
thought he had you.

INGRID
So I saved us?

NICK
By being extremely maddening.

INGRID
But I saved us.

NICK
Hey, I didn't want to leave you alone
and I was right.

INGRID
So I was wrong to save us.

She gives a careless shrug.

INGRID
Okay, fine, whatever.

Nick doesn't respond.  She arches her neck.

INGRID
Guess what I'm not wearing?

NICK
A flashing neon sign.

Ingrid looks at him, hurt.

NICK
Sorry.

Ingrid takes the amulet from behind her back and twirls it around.

NICK
Get some sleep.  We've got a long
drive tomorrow.

INGRID
You're really screwed up, you know
that?  The night in the farmhouse, I
thought we had something.  There
was something.  But now you're back
to being the most annoying man in
the entire world.  And yes, I've met
them all.

NICK
This has all been a lark to you,
because you're just a bored rich kid.

Ingrid's eyes flash in fury.  She marches into the bedroom and
slams the door.  She immediately comes out again.

INGRID
And you know what you can do with
your early start.

She slams the door again.

INT  INGRID'S CAR  NIGHT

It's well past midnight as they hit the city outskirts, Ingrid driving.

INGRID
Where can we get a hammer at this
time of night?

NICK
The Hammer of Thor Store, open
twenty-four hours.  'We service your
hammer needs or go broke trying'.

Ingrid gives him a dark look.

NICK
Anyway, I thought we were going
home.

INGRID
There's something I have to do first
and I want you as a witness.

NICK
I already am a witness.  That's why
I'm a marked man.

Short silence.

INGRID
You don't think it's over?

NICK
It's not over till a certain lady sings.

INGRID
Is that why you can't make it?  You're
booked for the opera?

NICK
Yeah, Don Giovanni.  The revised
version, where he turns over a new
leaf.

EXT  ELIOT'S NIGHTCLUB  NIGHT

Ingrid marches up to the doorman.  Nick lags behind.

INGRID
Hi, Mario.  How's Eliot?

MARIO
Not so good.  You stuck a stiletto in
his heart.

INGRID
But he is in?

MARIO
Yeah.

Ingrid goes inside.  Nick tries to follow but Mario blocks him.

NICK
I'm with her.

MARIO
Yeah, that's original.

Ingrid returns and grabs Nick by the arm.

INGRID
Stop mucking about.

She pulls Nick inside.

INT  ELIOT'S NIGHTCLUB  NIGHT

ELIOT'S OFFICE

Eliot watches through the two-way mirror as Nick and Ingrid take a
table.

HENCHMAN
What are they doing here?

ELIOT
I don't know, but it's very stupid.  Put
extra on all the doors.

DANCE FLOOR

Eliot approaches Ingrid at the table.  He ignores Nick.

ELIOT
Ingrid, your parents and I have been
very worried.

Ingrid holds out her palm.

INGRID
Save it.

ELIOT
Come upstairs.  Please.

INGRID
I'm fine here.  Are you fine, Nick?

Nick gives a vague shrug.

INGRID
He's fine too.

She takes off the amulet and places it on the table, then produces
a small hammer from her purse.

ELIOT
This isn't the time for playing games.

INGRID
I'm not playing.

ELIOT
No?  Then why the toy?

INGRID
It's called a hobby hammer.

ELIOT
Not here.  It's too public.

Ignoring this, Ingrid hits the amulet with the hammer.  The amulet
remains intact.  She turns to Nick.

INGRID
How can a hammer not work? 
What's to malfunction?

Eliot tries to grab the amulet but she pulls it away and taunts him.

INGRID
Something to confess?

ELIOT
Yes.  I still love you.

Ingrid snorts and attacks the amulet with renewed vigour.  This
time the black disc jumps off, revealing the internal mechanism.

ELIOT
Ingrid...

INGRID
Don't Ingrid me.  You used me.  You
risked my life.

ELIOT
No you risked your life.  By being with
him.

INGRID
That's how you got where you are,
isn't it?  By sacrificing people.  You
were prepared to sacrifice me.

Eliot struggles with his emotions.

ELIOT
I made a mistake.  But please, give
me another chance.

INGRID
Sure, I'll give you a chance.  A fat
chance.

She turns to Nick.

INGRID
And it's the fat lady who sings, okay?

She stands up.

INGRID
I grew up wrapped in cotton wool. 
Well I don't want that anymore.

Eliot takes hold of her shoulder.  Nick pushes him away and is
immediately surrounded by heavies.  Eliot and Ingrid face each
other.

ELIOT
You should be careful what you wish
for.

INGRID
What do you mean?

ELIOT
Mitchell.

INGRID
Mitchell?

ELIOT
He's out.

INGRID
Escaped?

ELIOT
On bail.

NICK
Definitely time to go.

INGRID
I don't understand.

ELIOT
Money can buy a good lawyer.  He
disputed the validity of the recording. 
It was too short.  Such things can be
digitally atered.

Ingrid grabs Nick by the arm and starts moving away.

ELIOT
I can protect you.

INGRID
You?

She gives a scornful laugh and leaves without a backward glance.

HENCHMAN
What do we do, boss?

Eliot's expression is grim.

ELIOT
Nothing.  Nothing at all.

INT  INGRID'S CAR  NIGHT

A misty rain falls as Ingrid drives through quiet city streets.  Nick
keeps glancing around.

NICK
We're being followed.

INGRID
Not this again.  You saw me smash
the amulet.

NICK
The nightclub.  I knew we shouldn't
have gone there.

INGRID
It's not Eliot.

NICK
So you're back to defending him?

INGRID
He knows he made a terrible mistake. 
He truly did love me.  And now he's a
broken man.  Should we kick a
broken man when he's down?

NICK
He helped a man who tried to kill me,
so I guess I'm biased.

INGRID
I almost feel sorry for him.

NICK
Why?

INGRID
Because he loved and lost.  Have you
never loved and lost?

NICK
We're getting off the point.

Ingrid glances in the mirror.

INGRID
Is it Mitchell?

NICK
I don't think so.  I think he's a spotter.

INGRID
A what?

NICK
Someone working for Mitchell.

INGRID
You want me to lose him?

Nick looks at her dubiously.

NICK
What are you planning?

INGRID
Watch.

She pulls hard on the wheel, sending the car into a spin.  They
come to a stop.  She's disoriented.

INGRID
Which way's north?

NICK
Just go.  Go.

Ingrid hits the pedal and they take off, but now heading in the
opposite direction.

INGRID
Wow, that was fun.

NICK
Tell me you've done that manoevre
before.

INGRID
No, but I've aways wanted to.

NICK
This is serious.  The spotter will have
contacted Mitchell.

INGRID
At least I'll die having done the twirly
thing.  Does it have a name?

NICK
I can think of a lot of names but don't
tempt me.

He looks around.

NICK
He's back.

INGRID
Some people just can't take a hint.

NICK
No more stunts where you don't
know what the hell you're doing.

INGRID
So you think the first one was just a
fluke?

NICK
Yeah.

Ingrid wrenches the wheel.  The car rolls, ending up on its roof.

EXT  INGRID'S CAR  NIGHT

They struggle out of the upturned car and flee down a side-street.

EXT  CITY STREETS  NIGHT

Ingrid pauses to catch her breath.

INGRID
It just shows the importance of
wearing seatbelts.

NICK
Don't talk.  Keep moving.

Ingrid starts walking.

INGRID
Can I at least say I'm sorry?

NICK
No.

INGRID
Well if we're going to play the blame
game, you shouldn't have challenged
me.  I can't resist a challenge.

NICK
I challenge you to shut-up.

INGRID
Now that's playing dirty.

They wander through empty city streets, lined with low-rise office
buildings and showrooms.  Ingrid pulls out her cellphone.

NICK
No phones.

INGRID
I'm calling a taxi.

NICK
We wait for a taxi, we're sitting ducks. 
Keep moving.

INGRID
I don't see him.  I don't see anyone.

NICK
That works both ways.  We stick out.

INGRID
So what do we do?

NICK
We need to get off the street.  I 'm
working on it.

INGRID
Follow me.

She marches off with determination.  Nick holds back.

NICK
Why?

INGRID
Because we don't have time to waste
discussing your trust issues.

EXT  OFFICE BUILDING  NIGHT

They arrive outside an office building conspicuously taller than the
rest.  Nick is dubious.

NICK
You can get in?

INGRID
My father has the top floor.  I help out
sometimes.

NICK
And we just happened to be in the
area?

INGRID
No I homed.  Subconsciously of
course.  I did first-year psychology. 
We're slaves to our subconscious,
did you know that?

They mount the steps to the imposing glass doors.

NICK
Just tell me you've got a card.

INGRID
No, a thumb.

She puts her thumb inside the reader.  It beeps acceptance.

INGRID
Now all I've got to do is remember my
pin.

Nick gives her a frosty look.

INGRID
I don't do a lot of overtime.

Nick scans the street impatiently while she tries to remember.

INGRID
It's not my birthday but it may be the
French Revolution.

She enters the date.  Rapid beeps.

NICK
It doesn't sound happy.

INGRID
Well I know something revolved.

NICK
The American Revolution?

INGRID
That wasn't actually a revolution.  It
was really a rebellion.

NICK
Russian?

INGRID
Yes.

She punches the date triumphantly.  More rapid beeps.

INGRID
We're in trouble.

NICK
What do you mean?

INGRID
I only get three goes.

A black car with tinted windows turns into their street.  Nick
glances at it then speaks to Ingrid with quiet urgency.

NICK
You speak Russian?

INGRID
No.

NICK
French?

INGRID
Yes.

NICK
Backwards.  Try backwards.

INGRID
Who speaks French backwards?

NICK
The date.  Quick.

The car pulls up opposite.  Ingrid finally notices the engine and turns around.

INGRID
Oh God, we're dead.

NICK
Do it.

Mitchell gets out of the car.  Ingrid tries the numbers.  Nick sees
Mitchell pull out a rifle and grabs Ingrid, pulling her away.  The
doors open.  They rush inside.

INT  OFFICE BUILDING  NIGHT

They run to the lift.  Ingrid hammers the button repeatedly.  They
hear footsteps, slow and measured.  Ingrid huddles against Nick. 
The doors open.  They dive inside.

INT  LIFT  NIGHT

Ingrid hits the top floor button.  Nick peers out then quickly ducks
back.  A shot echoes around the lobby.  The doors close.

INT  TOP FLOOR  NIGHT

They tumble out of the lift, leaving it on hold.  Ingrid fumbles in her
purse and pulls out her cellphone.  She reacts in dismay.

INGRID
I can't get a signal.

NICK
He must have a jammer.

INGRID
A what?

NICK
Hotels use them, cinemas don't.  Go
figure.

Ingrid runs over to a desk and tries to use the phone.

INGRID
Dead.  Like us.

NICK
He found the main switchboard.  My
God he's a quick worker.

INGRID
So what else can he disable?

Nick looks at her, then away.

NICK
Where's your father's office?

INT  JAMES' OFFICE  NIGHT

They enter the office.  Nick looks around, then points to a wall
cabinet.

NICK
What's in there?

INGRID
Drinks.  Is that your plan?

Nick ignores this.

NICK
I just hope he doesn't have night
vision.

INGRID
You mean like a bat?

NICK
Goggles.

The lights go out.

INGRID
Well now we know.

NICK
I think he's done this before.

INGRID
Kiss me.

NICK
What?

INGRID
The one thing I want to do before I
die.

NICK
I thought it was the twirly thing.

INGRID
Yes, and then I'll be well and truly
ready.

NICK
Cellpone.

INGRID
It doesn't work.

NICK
The light-panel does.

Ingrid turns the phone on.  Nick takes it and uses it as a torch.  He
shines it at her purse.

NICK
What else have you got in there?

Ingrid rummages.

NICK
The mirror.  Take it.

INGRID
We fight with smoke and mirrors?

Nick opens the drinks cabinet.

NICK
Whiskey. Good.

INGRID
Am I talking to myself?

NICK
You want to die talking?  Is that
another wish?

INGRID
I talk when I'm scared.  Haven't you
noticed?

NICK
The difference?  No.

He goes to the desk.

NICK
Laptop with battery.  Good.

He removes the battery then opens the drawers.

NICK
Scissors.  Metal paper clips.

INGRID
Tell me what you're doing so I can
help.  You can't fight him on your own.

Nick hands her the scissors.

NICK
Cut the drape.  Not too much.  We're
going to soak it and stuff it in the
whiskey bottle.

Ingrid sets to work.

INGRID
How are you going to light it?

NICK
By sparking the battery.  The hard
part will be in the timing.

INT  TOP FLOOR  NIGHT

Mitchell wearing night vision strides among the desks.  The light on
his rifle darts about like a deadly will-o'-the-wisp.

INT  JAMES' OFFICE  NIGHT

Mitchell opens the door.  He sees nothing but doesn't move.

MITCHELL
Hey, Bramble, it's over.

Silence.

MITCHELL
Your girlfiend can go.  I won't hurt her. 
Promise.

More silence.  He laughs.

MITCHELL
You're right.  I don't believe in
witnesses.

He waits patiently, as though savouring the moment.

MITCHELL
Cowering behind a desk.  Is that how
you want to die, Bramble?

Nick stands up.  The lightbeam strikes his heart.  He reflects it with
the mirror into Mitchell's eyes.

Ingrid throws the Molotov cocktail.  It explodes on impact, setting
Mitchell alight.  He screams and rushes blindly at Ingrid.  Nick
yanks her aside and Mitchell crashes into the full-length window,
falling to the street in a shower of glass.

The room  is on fire, trapping them.

INGRID
Omigod, what do we do now?

NICK
This.

He grabs Ingrid and kisses her.

INGRID
Are you crazy?

The sprinklers come on, drenching them.

INGRID
You knew that was going to happen,
didn't you?

NICK
Yeah, they work off batteries.

INGRID
Bastard.

Silence.

INGRID
Do it again.

They kiss.

END