INT. WAREHOUSE - NIGHT

A single bulb swings overhead. Shadows dance on concrete walls.

SARAH creeps forward, gun raised. Her breath mists in the cold.

A SOUND. She freezes.

Sarah feels nervous about entering the room.

Sarah hesitates at the threshold. Her hand trembles on the doorframe.

John thinks about his ex-wife and wonders if he made the right choice.

John stares at a photograph. His jaw tightens. He turns it face-down.

Sarah is a woman in her thirties with brown hair and she walks across
the room very slowly and deliberately, her high heels clicking on the
hardwood floor as she makes her way to the window where she looks out
at the city lights below, thinking about everything that has happened.

SARAH (30s, sharp) crosses to the window. The city glitters below.

INT. APARTMENT - DAY

SARAH CHEN (30s) enters. She drops her KEYS on the counter.

A PHONE RINGS. She ignores it.

On the table: A GUN. She stares at it.

Sarah runs.

GUNSHOTS behind her.

She dives behind a car. Glass SHATTERS above her head.

Returns fire. Two shots.

Silence.

Sarah stands at the window. The rain traces patterns on the glass,
distorting the city lights into abstract impressions.

She presses her palm against the cold surface. Breathes.

Behind her, the apartment is dark. Still.

CAMERA PANS across the room to reveal John.
CLOSE-UP on the photograph.
WE SEE Sarah through the window.

John sits in the corner, unnoticed.
The photograph: a family at the beach. Happier times.
Through the window: Sarah, alone.

ANGLE ON: The bomb. 00:03... 00:02... 00:01...

The door opens. JOHN MARCUS (40s, worn suit, wary eyes) enters.
He scans the room before committing to it.

INT. ABANDONED FACTORY - NIGHT

Rust and shadows. Broken windows let in slants of moonlight.
Somewhere, water DRIPS.

Sarah reads the letter.

Her face changes. Something breaks behind her eyes.

She sets the letter down. Walks to the window. Doesn't speak.

INTERCUT:

Sarah sprints down the hallway—
John breaks through the window—
The timer hits 00:05—

They COLLIDE at the door.

Sarah looks at the gun. Reaches for it.

                              CUT TO:

EXT. CITY - NIGHT (LATER)

The streets are empty now. A single car passes.

.MONTAGE - SARAH'S INVESTIGATION

- Library: Sarah searches through newspapers
- Street: Sarah photographs a building
- Bar: Sarah interviews an OLD MAN
- Home: Sarah pins photos to a board, steps back

.END MONTAGE

// Wrong
We see Sarah as she begins to slowly walk across the room
toward the window where she will look out at the view.

// Right
Sarah crosses to the window. She looks out.