FADE IN:

INT. NINA'S APARTMENT - KITCHEN - MORNING.

Nina is sat at the kitchen table, laptop open in front of her. She is going over the information that was e-mailed to her last night.

She opens an internet tab and looks up directions to the Ledger, Lucille's place of work. Then Nina consults Google Earth for a look at the streets surrounding the building.

Across the table, Sebastian is pushing his spoon around his cereal bowl morosely.

Nina flicks a glance at him over the top of her computer. He doesn't see. She shuts the laptop, takes Sebastian's empty bowl from him and pops it into the sink.

EXT. SCHOOL GATES - MORNING.

Children are filing through the gates into the school playground. Some are exuberant and looking forward to the day. Others are distinctly gloomy.

INT. CAR.

Nina and Sebastian are watching the children as they file inside.

Sebastian obviously doesn't want to go.

NINA

You're going to have to face him some time.

SEBASTIAN

Do I have to?

NINA

'Fraid so.

SEBASTIAN

He's so much bigger than me.

Nina thinks for a moment.

NINA

Big, maybe. But all bullies are cowards. Trust me on this.

(lowering her voice)

If he does hassle you again, wait till he's alone and --

She makes a fist and SMACKS it into the palm of her other hand.

Sebastian cheers up.

NINA

But don't tell anyone I said that.

SEBASTIAN

I won't.

NINA

Good.

She kisses him on the cheek. He pulls a face, but it is all for show.

NINA

Have a good day, champ.

SEBASTIAN

I will. Bye!

He gets out of the car and Nina tracks him through the school gates. He teams up with a group of friends. Nina is satisfied with that.

EXT. STREET - DAY.

Nina is standing across the road from the Ledger headquarters, or what passes for it anyway.

She watches as Lucille approaches the Ledger building at a leisurely pace, even though Nina's watch says the time is now 9:10. Having drawn out her walk to work as long as possible, Lucille goes inside.

Once she is out of sight, Nina enters the building behind her.

INT. OFFICE BUILDING - CONTINUOUS.

It appears to be vacant offices, such as those that make up half of the Ledger building.

Nina goes floor by floor, scoping out the building opposite, checking for a clear line of sight on Lucille.

Lucille is on the second floor, so it doesn't take Nina very long to find a good spot.

The window directly across from the second floor doesn't have a direct line to Lucille, but the one to the left of it does.

Jackpot.

Nina licks her finger and makes a mark in the thick dust on the window ledge.

EXT. STREET - DAY.

Nina is strolling casually along the street, just another worker bee by the looks of things.

INT. PARKING GARAGE - DAY.

Close-up of a holdall being removed from the trunk of a car.

INT. OFFICE BUILDING - DAY.

Nina is back in the room she marked up earlier. She is in the process of setting up her rifle in the very place she marked out, managing to concentrate on what she is doing while never losing sight of Lucille as she moves about the newsroom.

The holdall is on the floor at her feet. It contains the rest of her equipment, as well as a change of clothes and a blonde wig.

INT. NEWSROOM - THE LEDGER - DAY.

Lucille is working on her latest story for the Ledger.

The phone at her desk rings and she answers.

LUCILLE

Volant.

FORREST

You're at the office right now?

LUCILLE

Where else would I be?

CLICK.

He's hung up.

Lucille stares at the receiver in puzzlement before replacing it and returning to her work.

INT. OFFICE BUILDING - DAY.

Close-up of Nina observing Lucille answering the phone and then putting it down in bewilderment. She has fitted a telescopic sight onto the rifle.

What she doesn't see is the figure entering the Ledger building through the front entrance below.

Nor the one emerging from the shadows behind her.

SHADE

Don't do that.

Nina spins round, swinging the rifle with her, intending to shoot the intruder without a second thought.

But Shade has thought ahead of her.

She's pointing a Glock 17 at Nina, unfazed.

SHADE

Like I said.

Nina knows when she is cornered.

She takes her hands off her rifle and holds them in the air, a placating gesture.

NINA

You're not the cops.

SHADE

Just a concerned citizen.

NINA

Of course you are.

SHADE

I think you and I need to have a little talk.

That looks to be the last thing Nina wants, but she doesn't have any choice in the matter.

INT. NEWSROOM - THE LEDGER - DAY.

Lucille is fetching something from the photocopier when Forrest barges into the newsroom and heads straight for her.

LUCILLE

(looking up)

Forrest, what -- !

FORREST

You need to go. Don't argue.

His expression is positively stony. We've never seen this side of Forrest before, but Lucille has and she doesn't argue with him.

LUCILLE

Which way?

FORREST

Fire escape.

She follows him, glancing nervously over her shoulder. Her coworkers look on in bafflement, but nobody tries to stop them.

EXT. FIRE ESCAPE - DAY.

They hurry down the steps as fast as they can. Forrest nearly trips over in his hurry, but Lucille steadies him.

FORREST

Thanks.

LUCILLE

Are you gonna tell me what the hell is going on?

FORREST

Later.

EXT. STREET - DAY.

Lucille and Forrest are pressed against the side of the Ledger building, out of breath from their dash down the stairs.

Forrest is watching the building across the street closely.

A FLASH of glass catching the sunlight. A signal.

Forrest is relieved: the coast is clear.

Lucille hasn't missed a trick.

LUCILLE

Who was that?

FORREST

Your guardian angel. C'mon.

INT. CAR - DAY.

They drive through the winding city streets.

Lucille fidgets beside Forrest, glancing warily through the back window every now and again as though she expects them to be rammed off the road at any moment. Given the circumstances, it is not a ridiculous fear.

FORREST

Ask.

LUCILLE

What the hell is going on?

FORREST

Someone was about to blow your head off, that's what was going on.

Lucille is understandably stunned.

LUCILLE

And my guardian angel tipped you off?

FORREST

Bingo.

Forrest doesn't seem amenable to answering any more questions on that subject.

LUCILLE

Where are we going?

FORREST

My place.

LUCILLE

(trying for levity)

That should be interesting.

FORREST

You'll be disappointed by the lack of Playboy pinups tacked to the walls, babe.

LUCILLE

Not even one?

FORREST

Nah.

Lucille LAUGHS shakily. The reality of how close she came to biting the big one is beginning to sink in.

LUCILLE

Gray means business.

FORREST

What did you expect?

LUCILLE

This. But not so soon.

She runs a hand through her hair and over her clothes, reassuring herself that she is still in one piece.

Forrest rests a hand lightly on her knee. Lucille takes comfort from the kind gesture.

INT. FORREST'S APARTMENT - DAY.

Forrest does a walk-through, making sure there are no unwelcome visitors laying in wait for them.

INT. CORRIDOR.

Lucille is waiting outside his door, anxious.

The door opens and Forrest is there, looking more relaxed and like the guy we are familiar with.

FORREST

It's clear.

INT. FORREST'S APARTMENT - LIVING ROOM - DAY.

Forrest's inner sanctum is, indeed, entirely free of pinups. There are only family photos of Forrest with his parents when he was a child. Nothing recent.

Lucille is standing awkwardly beside the couch.

FORREST

(humourous)

You can sit.

She does.

FORREST (O.S.)

You want something to drink?

LUCILLE

Anything alcoholic.

SOUNDS of Forrest rustling something up in the kitchen.

LUCILLE

(undertone)

Shit.

Forrest returns, holding a beer for them both.

FORREST

Sorry, this is the best I've got.

LUCILLE

It's fine. Did Kinsella see what happened?

FORREST

Don't worry about him.

Lucille LAUGHS, scrubbing a hand over her face. She takes the beer Forrest is offering her but doesn't take a swig.

LUCILLE

I can't stay here.

Forrest agrees. Neither needs to say why: it is common knowledge they know each other and enough people saw him lead her out of the building that the information will surely get back to Gray one way or another.

FORREST

You'll be okay here tonight.

He doesn't sound completely sure of that.

FORREST

Is there anyone off-radar that you can stay with?

LUCILLE

No.

FORREST

What about, err, Vasquez? Can't she help out?

LUCILLE

Not really.

(clarifying)

She doesn't want to.

Now she does take a long swallow from her beer. Some of it trickles from the corner of her mouth and drips onto her blouse.

FORREST

Hey, hey, careful!

LUCILLE

Don't worry, I got it from Sears. So, who is my mysterious guardian angel?

FORREST

A mutual acquaintance.

LUCILLE

Shade.

Forrest nods: got it in one.

LUCILLE

Feel like telling me what that's all about?

FORREST

Sorry.

Lucille was obviously expecting a negative answer and therefore doesn't seem overly put out by it.

LUCILLE

I'm getting to her.

FORREST

Yeah. You nearly getting shot was a lucky break.

LUCILLE

You think I'm nuts.

FORREST

I think you're like every reporter I've ever met.

Lucille can't seem to decide if this was meant as an insult or a compliment.

FORREST

Why her, Lucille? Why couldn't you just let...you knew --

LUCILLE

-- I told you, I didn't expect it to happen right away. As to why...she's the story everyone wants. And I got close last time, I know I did!

Forrest appraises her for a beat: could she really be prizing a story over her own life?

FORREST

No exclusive is worth a bullet in the brain.

Lucille shrugs, setting her beer bottle onto the nearby coffee table.

LUCILLE

If I can find out who she is...

Forrest seems to be reconsidering his stance on her sanity.

INT. CAR - DAY.

Lucille is sat by herself, sunk low in the passenger seat, concealing herself as much as possible without actually ducking. Outside the window, pedestrians stroll on past without giving her a second glance.

A sharp RAP on the window announces Forrest's return.

He opens the door to the back seat and tosses a suitcase inside. Then he walks around the car and gets into the driver's seat.

Lucille watches all of this with an air of detachment. She doesn't look like she has slept all night.

FORREST

Think I got everything.

Lucille GRUNTS in response.

Forrest puts the car in gear and they pull away, joining the flow of the morning traffic.

EXT. MOTEL PARKING LOT - DAY.

Forrest's car pulls into the lot of the Easy Rest Motel. Despite its pleasant name, we can tell from the outside that it is a fleabag.

Lucille pulls a face when she gets a good look at her new accommodation. She's smart enough not to kick up a fuss.

FORREST

She won't look for you here.

LUCILLE

I should hope not. How many cheating spouses have you tracked to this lovely place?

Forrest hoists her suitcase out of the backseat of his car with a smile.

FORREST

Enough to know it would never show up on Gray's radar.

LUCILLE

(mutter)

You better be right.

FORREST

Huh?

LUCILLE

Nothing. Lead the way.

INT. MOTEL ROOM - NIGHT.

The room is as unimpressive as you would expect. All it contains is a bed, a night stand and a TV.

Lucille's suitcase is open on the floor, contents spilling out. Lucille herself is sat on the bed, laptop open in front of her. She can't seem to get an internet connection and after a beat, she gives up and shuts the computer.

Leaning over the side of the bed, Lucille rummages one-handed through her suitcase until she comes up with another of her paperbacks.

Lucille settles in for a good read with the criminals of make-believe.

Somewhere down the hall, a woman SHOUTS ABUSE at persons unknown.

INT. MOTEL ROOM - LATER.

The lights are all off now, and Lucille is tucked up in bed. She is not asleep, merely staring at the peeling wallpaper of her room.

A shadow appears at her window. Lucille rolls over, alarmed, then relaxes: it is Shade.

Shade gestures for Lucille to open the window for her. Lucille obliges.

LUCILLE

You're lucky I don't own a gun.

SHADE

(stepping inside)

What makes you so sure you would've hit me even if you did have one?

LUCILLE

My point is that sneaking up on someone on the run is a bad idea.

SHADE

Had to.

Lucille waits for an elaboration on that remark, but Shade remains close-mouthed.

SHADE

Just dropped by to make sure you're holding up okay.

LUCILLE

As well as can be expected. Something about today is bothering me. I'm trying to figure out what.

SHADE

(dry)

Someone tried to shoot you.

LUCILLE

Apart from that, smart ass. Nevermind, I'll figure it out. How did you know?

SHADE

I listen.

LUCILLE

What happened to the hitman?

SHADE

Woman. You don't need to worry about her.

LUCILLE

She's...dead?

SHADE

No.

Again, no further elaboration.

SHADE

If you stay put, you should be fine, Volant.

LUCILLE

Forrest brought me in his car. Will that be a problem?

SHADE

No, or I wouldn't have let him.

A pause.

LUCILLE

What's your endgame, Shade?

SHADE

What's yours, Volant?

LUCILLE

I would've thought that was obvious by now.

Shade turns back to the window, effectively ending the conversation.

LUCILLE

See you when I see you, then.

Shade is already gone. She is well named.

INT. NINA'S APARTMENT - BEDROOM - DAY.

An open suitcase is on the bed in the midst of being hastily packed.

Nina is frantically throwing clothes and toiletries into it.

When it is full, she zips it shut with some difficulty and then moves on to Sebastian's room.

INT. NINA'S APARTMENT - SEBASTIAN'S ROOM - DAY.

She does the same thing with his clothes. Nina makes sure to pack some toys for him as well.

INT. NINA'S APARTMENT - BEDROOM - DAY.

She returns to her room to fetch her case, only to find Shade sat on the bed waiting for her.

NINA

The fuck are you doing in here?

SHADE

(gesturing to the suitcase)

Bit late to be running, isn't it, Nina?

NINA

They -- !

She breaks off, anguished.

NINA

(quietly)

They'll kill me.

SHADE

They won't. The whole newsroom saw Forrest drag Volant out. They'll accept your story as gospel because it makes perfect sense.

Shade leans closer to Nina, predatory.

SHADE

And you will tell them exactly that. Won't you?

NINA

Who the hell are you?

SHADE

A concerned citizen.

NINA

A concerned citizen stupid enough to fuck with Gray?

SHADE

I hope you don't talk that way in front of your son.

Nina blanches at the mention of Sebastian.

SHADE

Let me worry about Gray. You give them that story and you'll be fine. You won't see me again.

NINA

God, I hope so.

SHADE

And you won't have to worry about your son, either.

Nina clenches a fist at her side.

SHADE

Nice talking to you, Nina.

INT. COFFEE SHOP - DAY.

Another anonymous cafe not unlike the Angel. Lucille is sat at the counter with Forrest, sharing a sandwich and coffee with him.

FORREST

Settling in at Roach City okay?

LUCILLE

Yes. Surprising how adaptable we humans are.

She pauses to take a bite of her sandwich.

LUCILLE (CONT'D)

Kinsella keeps calling me. He heard about what happened. You dragging me out and all.

FORREST

I told you not to worry about that douche.

LUCILLE

(smiling)

I was thinking that you should be worried.

Forrest waves her concerns away easily.

LUCILLE

I can't get any work done here. I need my stuff.

FORREST

I got your laptop. What more do you need.

LUCILLE

Don't keep my files on my laptop.

FORREST

I can't believe you're worried about your work right now.

Lucille is stumped: what else would she be worried about?

FORREST

You're a bit nuts, Lucille.

LUCILLE

I expected it. I'm not some cub reporter, Richard.

Forrest bristles at her use of his first name.

FORREST

How long did you think it would take?

Lucille takes another bite of her sandwich. Forrest hasn't touched any of his.

FORREST

This is really personal for you, isn't it?

LUCILLE

It's my work.

Forrest can't seem to relate to this sort of obsession at all.

LUCILLE

(thinking aloud)

I'd been quiet for so long, I didn't think she'd...I mean, how could she know so soon that I wrote it, and not some ambitious up-and-comer?

FORREST

Someone must've tipped her off.

LUCILLE

But who?

(murmurs)

Save his own neck, that's what he said. Why would --

She's got it: it had to have been Kinsella.

LUCILLE

That fucking son of a bitch!

FORREST

What, who!?

LUCILLE

Kinsella.

She stands up.

Forrest puts a restraining hand on her arm.

FORREST

Whoa, whoa! You're not just gonna go charging over there!

Lucille tries to tug her arm away from him, and Forrest lets go. However, she makes no move to leave, just stands there seething.

LUCILLE

Find out where he lives.

EXT. STREET - NIGHT.

A quiet, suburban neighbourhood. There aren't a lot of lights on in the houses round about, suggesting that the hour is late.

INT. CAR - NIGHT.

Lucille is sat in the passenger seat waiting for a signal from Forrest.

Her cell phone BUZZES in her coat pocket. She doesn't bother reading the text message.

EXT. STREET - NIGHT.

Lucille looks up and down the street carefully, scouting for potential witnesses. Clear. She heads up the path to Kinsella's front door and RINGS the doorbell.

The shadow of Kinsella can be seen coming down the stairs. He pauses by the door, possibly looking through the spy hole to see who his late night visitor is.

The door flies open.

KINSELLA

Volant!

Lucille is looking nervously about herself, every inch the convincing damsel in distress.

LUCILLE

You gotta let me in! Someone's following me!

Her distress seems genuine enough. Kinsella hustles her inside straight away.

INT. KINSELLA'S HOUSE - LIVING ROOM - DAY.

Kinsella settles Lucille down on the couch.

He sits beside her, although not too close. Lucille watches him warily out of the corner of her eye.

KINSELLA

(softly)

What's going on? You haven't returned any of my calls and --

LUCILLE

-- Someone tried to kill me.

KINSELLA

Forrest -- ?

LUCILLE

No. He...he got me out in time.

KINSELLA

Shit. That's why you haven't been back to your apartment, then.

LUCILLE

How do you know I haven't been back to my apartment?

Kinsella thinks quickly.

KINSELLA

You...weren't answering your phone there.

LUCILLE

Right.

(beat)

It was one of Gray's people.

KINSELLA

You sure?

LUCILLE

Who else could it be.

KINSELLA

I told you. Christ, Lucille --

Lucille turns around and looks him dead in the eye.

All trace of the damsel in distress is gone. Kinsella shifts in his seat, wary.

LUCILLE

You told her it was me who wrote the article.

KINSELLA

I did not! How could you think --

LUCILLE

You tried to talk me out of it to save your neck. That's what you told me. Now, why the hell would Gray give a fuck about going after you unless you were in her pocket?

Kinsella stands up, looking very much the cornered rat.

KINSELLA

Why couldn't you just have left it the fuck alone, Volant?

FORREST (O.S.)

Why were you in her pocket in the first place, Doug?

Kinsella backs up. Forrest has slipped into the living room via the kitchen while they were talking.

He's carrying a gun - Glock 17.

Kinsella doesn't take his gaze off it, horrified.

KINSELLA

(to Forrest)

You've taken her money before as well, you little shit!

FORREST

Not anymore.

LUCILLE

I'm willing to be reasonable about this, Doug.

KINSELLA

Okay.

LUCILLE

You tell me who Gray is and I won't order Forrest to blow your cowardly brains all over this nice wallpaper.

KINSELLA

You wouldn't!

LUCILLE

Try me.

He looks from Lucille to Forrest, and then to back to Forrest's gun.

KINSELLA

I don't know who she is.

LUCILLE

You had contact with her.

KINSELLA

I called a number and they put me through. That was it.

He's telling the truth. Lucille looks to Forrest for a second opinion. Just to be sure.

He concurs.

LUCILLE

Consider this my two weeks'.

She and Forrest back out the door. A moment later the front door shuts after them.

Relieved, Kinsella sinks down on to his couch, breathing heavily.

INT. CAR - NIGHT.

Forrest and Lucille are making their way back to the motel.

FORREST

Guess we're stuck with each other now.

LUCILLE

I'll live.

FORREST

I'm flattered.

(beat)

What are you gonna do now, Lucille?

LUCILLE

I don't know. Something.

INT. GRAY MANSION - DAY.

An elegantly decorated room. Not the obvious location for the head of a criminal organization to be working out of.

Behind the desk at the head of this room sits Gray herself. We can see her clearly now. She is in her forties and looks remarkably harmless. For the moment.

Two men enter the room. Gray looks up boredly, expecting them.

They stand nervously before her desk while Gray appraises them coolly. Now we can see the steely threat in her. She would kill either of these men without a second thought or a shred of remorse and they both know it.

GRAY

What did Nina have to say for herself?

MAN #1

The private eye tipped Volant off. Got her out of there before she could take a shot.

GRAY

Do you believe her?

MAN #1

Eye witnesses confirmed that is what happened.

Gray is satisfied, just as Shade said she would be.

She turns her attention to MAN #2.

GRAY

Any luck tracing either of them?

Man #2 shakes his head.

Gray is frustrated.

GRAY

That'll be all.

They leave.

The door opens again almost immediately. This time, Gray does look surprised. We can only see this new visitor from the back.

WOMAN (MARIE)

Am I interrupting anything?

GRAY

Not at all. Is something wrong?

MARIE

I was going to ask you that very same question. I barely see you anymore.

GRAY

(smiling)

I'm fine, Marie. And I'm lucky to have a daughter who cares.

INT. GRAY MANSION - CORRIDOR.

We follow Marie, still only seeing her from behind, as she makes her way back to her room.

INT. GRAY MANSION - MARIE'S BEDROOM.

We see her face clearly when she opens the door. It is her eyes that draw our attention - we've seen them before, many times.

Marie is Shade.

EXT. PIER 17 - DAWN.

Both Lucille and Forrest are waiting for Shade to appear at her chosen meeting place.

As always, Shade glides towards them serenely, as though they have all the time in the world to discuss matters.

SHADE

Forrest said you had some updates for me?

LUCILLE

Kinsella was the one who tipped off Gray. He doesn't know who she is, though.

SHADE

Why does that matter?

LUCILLE

Because if we get a name, the police can arrest her.

SHADE

And you'll be covered in glory, right?

Lucille doesn't deign to answer that.

SHADE

I don't think you should be concerned about her identity right now.

LUCILLE

This is my work!

Shade looks to Forrest for an explanation for Lucille's bizarre fixation, but he makes it clear to her he doesn't get it either.

SHADE

I thought that your work was about shutting down her operations.

LUCILLE

You thought wrong, then.

The two women regard each other once again, but this time they are not on the same page at all.

SHADE

I think we're done here.

She turns and walks away, scarf flapping in the breeze.

Lucille is too stunned to try and stop her.

Forrest is equally at a loss.

FADE TO BLACK.

END.