Episode 1- Scene 1 Joseph

Fade In

EXT – A STREET - EVENING

It is starting to get dark. The street lamps are lighting up the street. JOSEPH, sixteen, is standing at a kebab van. He is wearing casual clothes. He has a wristband on his right wrist. He has a hoody over the top of his t-shirt. He also has the watch on his right wrist. A COOK, mid-forties, is standing inside the kebab van. He hands a kebab to JOSEPH.

JOSEPH
Thanks.

JOSEPH walks away. He sits on the top of a wall. He starts to eat his kebab. He looks for SETH, but can’t see him. He sighs. He then looks at the time on his watch. He continues to eat the kebab. He finishes it a moment later. He gets to his feet, and he puts the rubbish in the bin.
He starts to walk down the street. He zips up his hoody. A van is heading down the street. It pulls up alongside JOSEPH. The side door opens. A MAN climbs out of the van. He grabs hold of JOSEPH, and he tries to get him inside the van. JOSEPH struggles.

JOSEPH (struggling)
Get off me!

The MAN throws JOSEPH into the back of the van. The MAN also gets inside the van. He closes the side door. The van races off down the street.

Cut to
INT - AN ABANDONED WAREHOUSE - MORNING

JOSEPH is sitting on a seat. His hands and feet have been tied to the seat. His face is beaten. His hearing and vision is blurred. EDWIN, now late thirties, and LINK, mid-thirties, are standing in front of him. EDWIN has a scar on the side of his face. EDWIN punches JOSEPH in the face. JOSEPH spits out some blood.

JOSEPH (narration)
I suppose you’re wondering how I got here. It all started a few weeks ago. I spent most of my free time singing.

Cut to
INT - A ROOM - MORNING

JOSEPH is standing inside a room, singing. He is wearing casual clothes.

JOSEPH (narration)
A career in singing is what I really wanted in life. I spent most of my free time at home writing music. Rock, pop, rap, you name it. I tried it all. Obviously, some went better than others.

Cut to
INT – JOSEPH’S BEDROOM – AFTERNOON

JOSEPH is sitting at his desk, writing a song. He says the lyrics out loud as he writes them onto the paper.

JOSEPH (narration)
I even got the chance to perform at different gigs, including my shed, the retirement home in my village and my school’s Christmas Ball. They were okay. Some people turned up, which is all that matters to me.

Cut to
INT – THE SCHOOL DINNER HALL – AFTERNOON

JOSEPH is standing on the stage, singing a song. He has a guitar in his hands. There is also a microphone in front of him. He is wearing his school uniform, and his rucksack is on the floor next to him.
A row of seats have been put out in the hall. GIRL 1, thirteen, is the only other person inside the room. JOSEPH finishes performing the song. GIRL 1 gets to her feet, and she begins to clap at him.

JOSEPH (narration)
I never wanted to be mega-famous. I only wanted people to hear my music and say “Hey, I can connect with that.” Or maybe “Yeah. This guy’s got skills.”

The school bell goes. JOSEPH begins to put his guitar away. He puts his rucksack on his back, and he begins to walk off the stage. GIRL 1 hurries over to him.

GIRL 1
That was really good, Joseph.

JOSEPH
I’m glad you enjoyed them.

GIRL 1
The lyrics meant so much to me. And you looked so beautiful whilst playing them.

GIRL 1 dazes into a trance.

JOSEPH (continued)
Right...Well, I better get going.

JOSEPH walks out of the room. GIRL 1 continues to stand there.

JOSEPH (narration)
After all these small gigs, I decided I needed to get my name out there. I didn’t fancy becoming a busker for the rest of my life. No way. I needed a break. If only the right opportunity came along...

Cut to
INT - THE YEAR LOCKERS - AFTERNOON

JOSEPH stops outside his locker. He has his rucksack on his back. His sleeves are rolled up. There is a poster on the wall behind him. It is about the singing competition. There are some other kids getting some stuff out of their lockers. JOSEPH opens his locker. He takes out a few exercise books. KID 1, sixteen, walks past JOSEPH, shoving him.
JOSEPH drops all of the books on the floor. The KID walks away, laughing. JOSEPH sighs. He picks up the books from off the floor. He then sees the poster on the wall. He walks over to it. He stands there, looking at it. KID 2 and KID 3, both sixteen, walk over to him. They both see that JOSEPH is staring at the poster.

KID 2
What’re you looking at there, geek?

JOSEPH turns to face them.

JOSEPH (casually)
Nothing.

KID 2
You weren’t considering doing that, were you?

JOSEPH
I...

KID 2 interrupts him.

KID 2
I think you should. It’ll be a laugh. For us. Have fun singing. Freak.

KID 2 begins to walk away. KID 3 pushes past JOSEPH as he walks away. JOSEPH waits until they disappear out of sight, then he looks at the poster again.

JOSEPH (narration)
I was determined to prove them wrong, so I collected an application form at the end of the day. I took it home to fill out.

Cut to
EXT – THE FRONT OF SCHOOL – AFTERNOON

JOSEPH walks out of the school grounds. He is listening to some music on his iPod. He has his hands inside his trouser pockets. He begins to walk down the street. There are some other kids walking out of the school grounds.

Cut to
INT – EDWIN’S CAR – AFTERNOON

The car is parked across the road from JOSEPH. EDWIN is sitting in the driver’s seat, and LINK is sitting in the front passenger’s seat. They are both watching JOSEPH as he walks down the street.

EDWIN
That’s him.

LINK
What are we gonna do?

EDWIN
Nothing. It’s too crowded here. We’ll wait until there’s less people around.

EDWIN switches the engine on and he begins to drive away.

Cut to
INT – OWEN’S OFFICE – AFTERNOON

OWEN, late forties, is standing at his desk. PADDY, early thirties, is standing in front of him. There is a flat screen TV on the left side of the wall. A photo of JOSEPH is being projected onto it. PADDY is staring at it.

OWEN
It is possible Edwin knows where to find him.

PADDY faces OWEN.

PADDY
How long has he got?

OWEN
Not long. We have to move in quickly if we’re to get to him first. Paddy, I need you to keep an eye on Joseph. No matter what happens, no one can be allowed to get to him. Do you understand?

PADDY
Crystal clear.

Cut to
INT – JOSEPH’S KITCHEN – AFTERNOON

CRYSTAL, early forties, is sitting at the kitchen table, drinking from a cup of tea. She hears the noise of the front door opening and closing as JOSEPH walks inside the house.

JOSEPH (calling)
Mum.

CRYSTAL
I’m in here!

JOSEPH walks inside the room. He still has his rucksack on his back, which he places on the floor. He also has his iPod in his hands. CRYSTAL faces him.

CRYSTAL
Did you have a good day at school?

JOSEPH
I’ve got something to show you.

JOSEPH places his iPod down on the table. He then takes out the application form from his left trouser pocket. He shows it to CRYSTAL, who looks at it.

CRYSTAL
You should definitely do this.

JOSEPH (surprised)
Really?

CRYSTAL
Yeah. It’s what you want to do.

JOSEPH
Okay. I’ll fill it out.

CRYSTAL hands the application form back to JOSEPH. He also picks up
his iPod, then he walks out of the room.

Cut to
INT – JOSEPH’S BEDROOM – AFTERNOON

JOSEPH walks inside the room. He places his iPod and the application form down on the desk. He walks over to his wardrobe. He takes out a set of casual clothes, and he lays them out on his bed. He takes his shirt off.
He gets changed into the clothes. He also put a band on his right wrist. He then sits down at the desk. He begins to listen to some music on the iPod. He starts to fill out the application form afterwards.

Cut to
INT – EDWIN’S OFFICE – EVENING

EDWIN is sitting down at his desk. LINK is standing next to him. ELIJAH, early forties, is sitting in front of EDWIN. EDWIN hands a photo of JOSEPH to ELIJAH. He picks it up, and he looks at it. He faces EDWIN.

ELIJAH (surprised)
A kid?

EDWIN
He has something that I want. Now, can you take care of it?

ELIJAH
For a price.

Episode 1 - Scene 2 Audition Invitation

Cut to
INT - SCHOOL RECEPTION - MORNING

ELIJAH walks inside the building. He is wearing a suit. He walks over to the reception counter, where WOMAN 1, mid-fifties, is sitting. She is typing something onto a computer. She faces ELIJAH a moment later.

WOMAN 1
Can I help you?

ELIJAH
My name is Chief Inspector Eric Johnson of Scotland Yard.

ELIJAH takes out his wallet. He shows his police badge to WOMAN 1, who looks at it. He puts it away afterwards.

WOMAN 1
Oh my. Is there a problem?

ELIJAH
No. I just need to speak to one of the students about some vandalism that’s been happening in the area. Joseph Thompson. Is he available to talk to?

Cut to
INT - A VAN - MORNING

A van is parked outside the entrance of the school grounds. PADDY and ACE, early thirties, are sitting in the back of the van. They have a laptop out in front of them. They are watching CCTV footage of ELIJAH talking to WOMAN 1 in reception.

ACE
Shall we stop him?

PADDY
Leave it for a bit. Let’s see where this goes.

Cut to
INT - SCHOOL RECEPTION - MORNING

ELIJAH is still standing at the reception counter, talking to WOMAN 1. She is listening intently.

WOMAN 1
Should I get him taken out of lesson for you?

ELIJAH
If you wouldn't mind.

WOMAN 1 picks up the phone.

Cut to
INT - A SCHOOL CLASSROOM - MORNING

JOSEPH is sitting at a table on his own, writing some notes into his exercise book. There are some other kids sitting at different tables around the room. They are silently working. TEACHER 1, mid-forties, is sitting at his desk at the front of the room.
There is a knock on the door. JOSEPH looks up as TEACHER 2,
early thirties, comes inside the room. She walks over to TEACHER 1 and she begins to whisper something into his ear. JOSEPH tries to listen to their conversation. TEACHER 1 and TEACHER 2 turn to face JOSEPH. He quickly looks down at his exercise book.

TEACHER 1
Joseph.

JOSEPH faces them.

TEACHER 1 (continued)
There’s someone here to see you.

JOSEPH
Do I need my stuff?

TEACHER 2
No. It’ll only take a minute.

JOSEPH gets to his feet. He starts to walk across the room. TEACHER 2 walks out of the room. JOSEPH follows her out of the room. He closes the door behind himself.

Cut to
INT - A SCHOOL CORRIDOR - MORNING

JOSEPH and TEACHER 2 are walking down the corridor. TEACHER 2 is further ahead of JOSEPH, who is struggling to keep up with her.

JOSEPH
What’s this about?

TEACHER 2
You’ll see.

Cut to
INT - SCHOOL RECEPTION - MORNING

ELIJAH is standing in the middle of the room. WOMAN 1 is sitting at the reception counter. She is on the phone to someone. TEACHER 2 leads JOSEPH into reception. She leads him across to ELIJAH.

TEACHER 2
Here he is.

ELIJAH
Thanks ever so much.

TEACHER 2
You’re welcome.

TEACHER 2 begins to walk away. ELIJAH watches her until she disappears out of sight. He then turns to face JOSEPH.

ELIJAH
Would you care to follow me this way?

ELIJAH begins to walk away. JOSEPH follows him.

Cut to
INT - A VAN - MORNING

PADDY and ACE are still sitting in the back of the van, staring at the
laptop screen. They watch as ELIJAH leads JOSEPH out of reception.

PADDY
I want to see where he’s taking him.

ACE begins to type something into the laptop.

Cut to
INT - A CONFERENCE ROOM - MORNING

ELIJAH leads JOSEPH inside the room. JOSEPH stands in the middle of the room. He has his hands inside his trouser pockets. ELIJAH closes the door. He keeps his back to JOSEPH, who is watching him.

JOSEPH
If you’re the police, I haven’t done anything wrong.

ELIJAH
I’m not the police.

ELIJAH turns around.

ELIJAH (continued)
From my understanding, you have something. Something my employer wants.

JOSEPH (puzzled)
I don’t know what you’re talking about.

ELIJAH begins to advance towards JOSEPH.

ELIJAH
My employer is intent on getting what he wants. I have been granted permission to use extreme methods to get that.

JOSEPH goes to walk out of the room, but ELIJAH takes out a dagger. Terrified, JOSEPH stands still.

JOSEPH (nervously)
Look. I don’t know what you’re talking about. I don’t have anything. If I did, I’d give it back to you.

ELIJAH grabs hold of JOSEPH. He pushes him up against the wall. He holds the dagger against the side of JOSEPH’S neck.

ELIJAH (threateningly)
Another word, and I’ll kill you. Do you understand?

JOSEPH nods. ELIJAH tries to open JOSEPH’S shirt. JOSEPH kicks ELIJAH in the privates. He groans, and he drops the dagger on the floor.

Cut to
INT - A VAN - MORNING

PADDY and ACE are still sitting in the back of the van, staring at the
laptop screen. They have just seen JOSEPH kick ELIJAH in the privates.

PADDY
Do it now.

ACE presses the enter key on the laptop.

Cut to
INT - A CONFERENCE ROOM - MORNING

The fire alarm goes off inside the building. The noise distracts ELIJAH. JOSEPH quickly runs out of the room. ELIJAH follows him out of the room.

Cut to
INT - OUTSIDE THE CONFERENCE ROOM - MORNING

ELIJAH comes out of the room. The corridor is full of kids and teachers who are exiting the building. ELIJAH searches for JOSEPH, but he can’t find him. He sighs, then he walks away.

Cut to
EXT - THE SCHOOL FIELD - MORNING

All of the kids line up in their tutor groups. The teachers are also standing on the field, going through the registers. TEACHER 1 reaches JOSEPH’S name on the register. He sees that JOSEPH isn’t there.

Cut to
INT - A SCHOOL CORRIDOR - MORNING

JOSEPH stops running. He is out of breath. He looks behind himself. He sees that no one is there. Relieved, he leans against the wall and he begins to get his breath back. He then hears some footsteps approaching in the distance. He quickly goes inside a classroom, just as ELIJAH turns into the corridor.

Cut to
INT - A SCHOOL CLASSROOM - MORNING

JOSEPH quickly hides underneath the front desk. He hears ELIJAH come inside the room. ELIJAH looks around the room. He walks back out of the room a moment later. JOSEPH waits, then he comes up from behind the desk.

Cut to
INT - A SCHOOL CORRIDOR - MORNING

JOSEPH comes out of the classroom. He begins to walk down the corridor. TEACHER 1 comes into the corridor. He begins to walk towards JOSEPH.

TEACHER 1 (angrily)
What do you think you’re playing at, Joseph? The fire alarm has gone off. You shouldn’t be inside. For this, I am putting you in detention. At the end of the day, I want you to report to Mr Jones’s room. Now, come with me.

JOSEPH sighs. They then begin to walk away.

Cut to
EXT - THE FRONT OF SCHOOL - MORNING

ELIJAH walks out of the building. The fire alarm can be heard blaring inside the building. ELIJAH takes out his phone from his jacket. He begins to ring EDWIN, who answers the phone a moment later.

EDWIN
Is it done?

ELIJAH (reluctantly)
No.

EDWIN
You have one last chance. Do not disappoint me.

EDWIN cuts off the call. ELIJAH holds the phone in his hands. He begins to walk away.

Cut to
INT - MR JONES’S CLASSROOM - AFTERNOON

JOSEPH is sitting at a desk, writing the school code of conduct onto a sheet of paper. His rucksack is on the floor, underneath the desk. MR JONES, early fifties, is sitting at the front of the room, reading a book. A clock is on the wall. It can be heard ticking in the background.
JOSEPH finishes writing the sentence. He puts the pen down. He sits there, listening to the clock ticking. He picks his pen back up. He moves onto a clean page and he begins to write a song.

JOSEPH (whispering)
Tick, tick, tick. That recurring sound. That’s driving me insane. All I want is to be free. But that will never be me.

JOSEPH draws a clock onto the sheet of paper. He also writes the word ‘Clocks’ at the top of the page, in bold letters. MR JONES closes his book. He gets to his feet and he walks over to JOSEPH. He sees the picture of the clock on the sheet of paper.

MR JONES
Doodling, are we?

JOSEPH faces him.

JOSEPH
I’m really sorry.

MR JONES picks up the sheet of paper. He begins to read the song. He quietly reads out the lyrics. He faces JOSEPH afterwards.

MR JONES
How are you meant to learn from your mistake if you’re not even doing the punishment? I hope never to see you in detention again. You may go.

JOSEPH picks up his rucksack from off the floor. He gets to his feet and he puts the rucksack on his back.

JOSEPH
You can keep that, sir.

JOSEPH walks out of the room. He closes the door behind himself.

Cut to
INT - JOSEPH’S HALLWAY - AFTERNOON

JOSEPH walks inside the house. He closes the door behind himself. He puts his rucksack on the floor. He rests his back against the door. CRYSTAL comes out of the kitchen. She has an envelope in her hands. She sees JOSEPH standing with his back against the door.

CRYSTAL
This came for you earlier.

CRYSTAL holds out the envelope.

JOSEPH
What is it?

CRYSTAL hands the envelope to JOSEPH, who opens it. He takes out the letter, and he begins to read it. CRYSTAL watches him.

CRYSTAL
Well? Who’s it from?

JOSEPH
I got invited to audition for the show.

CRYSTAL screams in excitement.

CRYSTAL (happily)
Oh, honey. I’m so proud of you.

JOSEPH
I can’t believe I got through.

CRYSTAL
So, when’s the audition?

JOSEPH
Next week.

Episode 1 - Scene 3 A Shocking Revelation

Cut to
INT – CRYSTAL’S CAR - MORNING

CRYSTAL’S car is parked outside the building used for the singing auditions. There are crowds of people queuing outside the building. CRYSTAL is sitting in the driver’s seat of the car. JOSEPH is sitting in the front passenger’s seat. JOSEPH is sitting, staring out of the window. CRYSTAL faces him.

CRYSTAL
Would you like me to go in with you?

JOSEPH
No. I have to do this on my own.

JOSEPH takes a deep breath.

CRYSTAL
I’m gonna head back home. Ring me once you’re done.

CRYSTAL kisses JOSEPH on the cheek. He wipes it afterwards.

JOSEPH
I hate it when you do that.

CRYSTAL
Good luck.

JOSEPH takes his seatbelt off. He climbs out of the car. He closes the door behind himself. CRYSTAL switches the engine on, and she drives away.

Cut to
EXT - OUTSIDE THE BUILDING - MORNING

JOSEPH is standing outside the building. He is staring up at it. He takes a deep breath, then he joins the end of the queue.

Cut to
INT - THE ENTRANCE OF THE BUILDING - MORNING

JOSEPH is sitting at the front of a row of people. He is nervously rubbing his hands together. He has a sticker with a number on it, on his t-shirt.


GUARD 1 walks over to JOSEPH.

GUARD 1
Joseph Thompson?

JOSEPH looks up at him.

JOSEPH
Yeah?

GUARD 1
Would you like to follow me, please?

JOSEPH gets to his feet. He follows GUARD 1, who leads him away.

Cut to
INT - A ROOM - MORNING

GUARD 1 leads JOSEPH inside a dimly lit room. There are two chairs in the middle of the room. PADDY is sitting on one of them. JOSEPH faces GUARD 1.

JOSEPH
This can’t be the audition room. I think you’ve taken me to the wrong place.

GUARD 1
No. We’re at the right place.

JOSEPH tries to exit the room, but GUARD 1 grabs hold of him. JOSEPH tries to break out of his grasp, but he can’t. GUARD 1 starts to pull JOSEPH across the room, towards the spare seat.

JOSEPH (desperately)
You’ve made a mistake. I haven’t done anything wrong. Please let me go.

GUARD 1 places JOSEPH down on the seat. PADDY faces him.

PADDY
Hello, Joseph.

JOSEPH
How do you know my name?

PADDY doesn’t answer him. JOSEPH tries to get away. GUARD 1 puts
him back in the seat.

JOSEPH (continued)
Please don’t kill me. I don’t wanna die.

PADDY
I’m not going to kill you.

JOSEPH
What do you want with me?

PADDY
My name is Paddy. I work for the British Secret Service. And believe it or not, your life is in danger.

JOSEPH is silent.

PADDY (continued)
Lift up your shirt.

JOSEPH
Why?

JOSEPH hesitates. GUARD 1 goes to lift up JOSEPH’S t-shirt, but JOSEPH pulls it up first. There is nothing on his chest.

JOSEPH
See, look. There’s nothing there. Now, can you let me go?

PADDY
Scanner.

GUARD 1 takes out a scanner from his jacket. He hands it to PADDY,
who switches it on.

JOSEPH
What are you doing?

PADDY scans JOSEPH’S stomach. A code becomes visible on the bottom left hand side of his stomach. JOSEPH sees it.

PADDY
That’s what they’re after.

PADDY switches the scanner off. He hands the scanner back to GUARD 1. JOSEPH puts his t-shirt down.

JOSEPH
What is it?

PADDY
It’s a code. Your father used to work with us. I was on a mission with him at the time. He found that code, but he got compromised. He got the numbers imprinted on your chest and got you away.

JOSEPH
I want to go.

PADDY nods to GUARD 1, who lets go of JOSEPH. JOSEPH gets to his feet, and he begins to walk across the room.

PADDY
If you leave, you’ll be dead within the hour.

JOSEPH stops walking. He turns back to face PADDY, then he carries on walking. He walks out of the room. He closes the door behind himself.

Cut to
INT - THE AUDITION ROOM - MORNING

CHARLIE, mid-forties, JUDGE 1 and JUDGE 2 are sitting at a table. They each have a glass of water in front of them. JOSEPH is standing in the middle of the room. He is nervously rubbing his hands together.

CHARLIE
What is your name?

JOSEPH (nervously)
Joseph. Joseph Thompson.

CHARLIE
Okay, Joseph. What song will you be performing for us today?

JOSEPH
It’s one of my own. It's called 'Flirting With Walls'.

JOSEPH clears his throat. He begins to sing to them. They all listen intently. JOSEPH stops singing. He stands there in silence. CHARLIE and the judges watch him.

CHARLIE
What’s wrong?

JOSEPH (nervously)
I’m sorry. I can’t do this.

JOSEPH quickly runs out of the room. CHARLIE and the judges look at each other in disbelief.

Cut to
EXT - A STREET - AFTERNOON

JOSEPH is walking down a street. He is close to a shopping centre. There are some other people walking down the street. ELIJAH is following JOSEPH. JOSEPH’S phone begins to ring. He takes it out of his right trouser pocket, and he answers it.

JOSEPH
Hello?

PADDY (calmly)
Right now, there is someone following you. Don’t turn around, otherwise he’ll know you’ve spotted him.

JOSEPH (nervously)
Keep walking. Act as if nothing’s wrong.

JOSEPH continues to walk down the street. ELIJAH is still following him.

PADDY
If you do everything I tell you, you will get through this, okay?

JOSEPH
Yeah. Why are they after me?

PADDY
I told you earlier. Just don’t worry about it.

JOSEPH turns around. He sees that ELIJAH is following him. ELIJAH reaches into his jacket, taking out a gun. JOSEPH starts to run down the street. ELIJAH pursues him.

JOSEPH (nervously)
He’s after me. What do I do?

PADDY
Go inside the shopping centre. It’ll be harder for him to spot you there.

JOSEPH
Okay.

JOSEPH sees that the shopping centre is across the road. He runs into the
road. A car slams on its breaks, but it doesn’t stop in time. It hits JOSEPH. He falls onto the windscreen, cracking it. He gets off the car, and he continues to run across the road.

PADDY
Are you okay?

JOSEPH
I’m fine.

JOSEPH runs onto the pathway. He pushes past some people. ELIJAH runs across the road. He climbs over the top of the car that hit JOSEPH. JOSEPH runs inside the shopping centre. ELIJAH continues to follow him.

Cut to
INT - THE SHOPPING CENTRE - AFTERNOON

JOSEPH is running through the shopping centre. He is still on the phone to PADDY. The shopping centre is full of people.

JOSEPH
Where shall I go now?

PADDY
Keep running.

ELIJAH runs inside the shopping centre. He has the gun in his hands. He looks for JOSEPH, but he can’t see him. He fires a few shots into the air. All of the people scream and begin to duck for cover. ELIJAH can now see JOSEPH running across the shopping centre. He chases after him.

PADDY
Turn left.

JOSEPH bursts through the door on his left. He starts to run down a corridor. There is another door at the end of the corridor. There is a fire exit at the end of the corridor.

PADDY
Go through the door.

ELIJAH comes into the corridor. He shoots at JOSEPH, but the bullets
miss him. JOSEPH runs out of the building.

Cut to
EXT - OUTSIDE THE SHOPPING CENTRE - AFTERNOON

JOSEPH is standing outside the building. JOSEPH has the phone against his ear. A car suddenly pulls up next to JOSEPH. PADDY is driving it. He has a hands free device in his ear. He also has his seatbelt on. He opens the front passenger’s seat door.

PADDY
Get in!

Cut to
INT – PADDY’S CAR - AFTERNOON

JOSEPH quickly climbs inside the car. He closes the door, just as ELIJAH runs out of the building. He still has his gun in his hands. JOSEPH leaves his phone on his lap. He then puts his seatbelt on. ELIJAH starts to shoot at the car. A bullet hits the windscreen.

PADDY
Hold on.

PADDY quickly turns the car around, and he starts to drive away. ELIJAH runs after the car. He jumps onto the top of the car. He holds onto it.

JOSEPH
He’s on the car.

PADDY
I know.

PADDY tries to shake ELIJAH off the car, but it doesn’t work. He then slams on the breaks. ELIJAH rolls over the top of the car, falling onto the floor. PADDY accelerates, hitting ELIJAH. ELIJAH rolls over the top of the car, and he hits the floor afterwards. PADDY continues to drive away.

Cut to
EXT – OUTSIDE THE SHOPPING CENTRE – AFTERNOON

ELIJAH slowly gets to his feet. His head is bleeding. ELIJAH takes out his phone from his right trouser pocket. He starts to ring EDWIN, who
answers the phone a moment later.

EDWIN
Do you have him?

ELIJAH
No, sir. He got away.

EDWIN
I have someone tying up all the loose ends. Come back and we can sort out your payment.

ELIJAH finishes the call. He holds the phone in his pocket. He starts to walk down the street.

Cut to
INT - PADDY’S CAR - AFTERNOON

PADDY is still driving the car down the street. JOSEPH is breathing heavily. He faces PADDY.

JOSEPH (out of breath)
Where are we going now?

PADDY
I have to get you to somewhere safe.

JOSEPH
No. You can’t. My Mum. We need to get her. Please.

PADDY suddenly turns the car around. He starts to drive back down the street.

Episode 1 - Scene 4 The Help of The British Secret Service

Cut to
EXT - OUTSIDE JOSEPH’S HOUSE - AFTERNOON

PADDY stops the car outside JOSEPH’S house. The front door is open. JOSEPH climbs out of the car. He runs across the front garden. He runs inside the house. PADDY takes his seatbelt off. He climbs out of the car, closing the door behind himself.

Cut to
INT - JOSEPH’S KITCHEN - AFTERNOON

JOSEPH is standing inside the kitchen. He is staring down at the ground. Some of the kitchen ornaments have been smashed. A chair has also been knocked over. PADDY walks inside the room. He looks at JOSEPH.

JOSEPH
They took her.

JOSEPH turns to face him.

JOSEPH
Do you think she’s still alive?

PADDY
I don’t know. But we need to get out of here.

JOSEPH
Okay.

PADDY turns around. He begins to walk out of the room, but then he stops, turning back to face JOSEPH.

PADDY
You’ll need to bring some belongings. Clothes, photos. Anything you don’t wanna leave behind.

Cut to
INT - JOSEPH’S BEDROOM - AFTERNOON

JOSEPH has his rucksack out on his back. He opens his wardrobe, and he takes out some of his clothes. He places them inside his rucksack. He closes the rucksack. He picks it up, putting it on his back. He turns to his desk.
There is a photo of him and CRYSTAL together on holiday.
JOSEPH picks it up, looking at it. PADDY stands in the doorway of the room. He watches JOSEPH.

JOSEPH
Will I ever get to see her again?

PADDY
We’re not gonna stop looking for her.

JOSEPH
How can you look for her when you don’t even know where she is?

JOSEPH opens his rucksack again. He photos inside it, then he closes it. He puts it back on his back. He faces PADDY afterwards.

JOSEPH (continued)
I’m ready to go now.

PADDY walks out of the room. JOSEPH follows him out of the room.

Cut to
INT - CHARLIE’S OFFICE - AFTERNOON

CHARLIE is sitting at his desk. BILLY, early forties, is standing in front of him. BILLY has a clipboard and pen in his hands.

CHARLIE
I can’t believe the amount of dreadful singers we saw this morning. It’s no wonder that the Music industry is starting to fall apart.

BILLY
Wasn’t there anyone?

CHARLIE
There was someone. His name is Joseph. Joseph Thompson.

Cut to
INT - OWEN’S OFFICE - AFTERNOON

OWEN is sitting down at his desk. He is reading through a few sheets of paper. He has a pair of glasses on. There is a knock on the door.

OWEN
Come in.

NICKY, mid-twenties, walks inside the room. She closes the door behind herself. OWEN faces her.

NICKY
I got a call from Paddy. He’s got Joseph. He’s bringing him in now.

OWEN
Okay. When they arrive, make sure that they come and speak to me.

NICKY
Yes, sir.

Cut to
INT - PADDY’S CAR - AFTERNOON

The car is parked in the car park at MI6 Headquarters. PADDY is sitting in the driver’s seat. JOSEPH is sitting in the front passenger’s seat. He is staring out of the window. His rucksack is on the floor, in-between his legs. PADDY faces him.

PADDY
Are you ready to go in now?

JOSEPH nods. They then climb out of the car.

Cut to
INT - OWEN’S OFFICE - AFTERNOON

OWEN is sitting down at his desk. JOSEPH is sitting down in front of him. PADDY is standing next to JOSEPH. The office door is closed. OWEN is talking to JOSEPH.

OWEN
I apologise for what happened to your Mother. We will make it a priority to find her. In the meantime, I was wondering if you’d like to help us. In our organisation, there is a division which trains youngsters, a bit like yourself. We train them to become junior agents. Primarily, they are orphans, but considering the circumstances, I’d recommend that you join us.

JOSEPH
I want to catch the people who took my Mum.

OWEN gets to his feet. He presses a switch on his desk. The bookcase opens up, revealing a screen. A picture of ELIJAH comes onto the screen. JOSEPH looks at it.

JOSEPH
That’s the guy who chased me earlier.

OWEN
His name is Elijah. He’s an assassin. He’s one of the best in the business. You’re lucky to have escaped from him. Twice.

There is a knock on the door. SETH, sixteen, comes inside the room. They all turn to face him.

SETH
You asked to speak with me?

OWEN
Ah, yes. Joseph, I’d like you to meet Seth. You two will be working with each other.

SETH
Hey.

SETH walks over to JOSEPH. He holds his hand out, and JOSEPH shakes it. ACE also comes inside the room.

OWEN
And this is Ace.

ACE puts his hand up to JOSEPH.

OWEN (continued)
These are the agents that you will be working with, Joseph. They will also help
to train you.

Cut to
INT - EDWIN’S OFFICE - EVENING

EDWIN is sitting down at his desk. LINK is standing next to him. They are both wearing suits. The right side of EDWIN’S face is scarred. The office light is on. ELIJAH is sitting down in front of EDWIN. A MAN is also standing inside the room.

EDWIN
I’m sorry, but you will not be paid for this assignment. You failed to bring me the boy. Your contract has just expired.

LINK takes out a gun from his jacket. He shoots ELIJAH in the stomach. ELIJAH falls to the floor, dead. The MAN drags ELIJAH’S body out of
the room. He comes back inside the room afterwards. ENZIO, mid-forties,
comes inside the room. He has hold of CRYSTAL. Her hands have been handcuffed together.

CRYSTAL (angrily)
Get your slimy hands off me!

ENZIO throws her into the seat. CRYSTAL faces EDWIN.

CRYSTAL (continued)
Where’s my son?

EDWIN
That’s what we intend to find out.

EDWIN signals to the MAN, who grabs hold of CRYSTAL. She struggles. The MAN takes CRYSTAL out of the room. EDWIN faces ENZIO afterwards.

EDWIN
Congratulations, Enzio. You’ve just been promoted.

Cut to
INT - JOSEPH’S DORMITORY - EVENING

CJ leads JOSEPH inside the room. All of JOSEPH’S personal belongings have been put inside the room. CJ closes the door. JOSEPH begins to look around the room.

CJ
We’ve tried to make everything as it was in your old room. If you don’t like it, we can always change it.

JOSEPH
Nah, it’s cool. Thanks for doing this.

CJ
Obviously, we made some alterations. You have a new iPod, TV, that sort of stuff.

JOSEPH turns to face CJ.

JOSEPH
How long do I have to stay here for?

CJ
Until it’s over.

JOSEPH
Which could be a long time.

JOSEPH sits down on the bed. CJ stands there, watching him.

CJ
Am I still needed here? Or do you want me to go?

JOSEPH
Can you stay a little longer? I’d kinda like the company.

Cut to
INT - JOSEPH’S DORMITORY - NIGHT

A bed has been made up on the floor, which CJ is laying on. JOSEPH is laying down on his own bed. They are both staring up at the ceiling.

CJ
It’s been a while since I last slept like this. Kinda reminds me of my teenage years.

JOSEPH faces him.

JOSEPH
Do you mind if I ask you a question?

CJ
Yeah, sure. What’s up?

JOSEPH
How long have you known Paddy for?

CJ
A few years. He helped me get a job here. I’m grateful to him. These have been
the best years of my life. But it’s not all good. I have seen a lot of people die. A lot of friends.

Cut to
EXT - THE ROOF OF A CAR PARK - NIGHT

NICKY is standing on the roof of the car park, next to her car. She has her
hands inside her jacket pockets. A car comes onto the roof. It stops close to NICKY. EDWIN climbs out of the car. He walks towards NICKY.

EDWIN
Tell me the news.

NICKY
Joseph has been taken into our care. He’s pretty well looked after, so I have no way of getting to him.

EDWIN
Get me his contact details. I’ll do the rest.

EDWIN turns around and he begins to walk towards his car.

NICKY
I’m not sure how much longer I can keep my cover going. They’re bound to find out sooner or later.

EDWIN turns back to face her.

EDWIN
If you do nothing to draw attention to yourself, you’ll be fine.

EDWIN climbs inside the car. He switches the engine on and he begins to drive away.

Episode 1 - Scene 5 Basic Training

Cut to
INT - A HALL - MORNING

JOSEPH and ACE are standing inside the room. JOSEPH is wearing a pair of shorts and a t-shirt. ACE is wearing casual clothes. He has a whistle on around his neck.

ACE
Today, I’m gonna test your fitness levels. To start with, I want you to do twenty laps of the room. Once you’ve done that, I want you to do twenty press-ups. Do you think you can handle that?

JOSEPH
Yeah. I should do.

ACE blows the whistle. JOSEPH stands there.

ACE (loudly)
Well, what are you waiting for? Step to!

JOSEPH smiles to himself, then he starts to run around the room. ACE watches him. JOSEPH stops running a moment later. Completely out of breath, he lays down on the floor.

ACE
How often did you do sport?

Cut to
EXT - A FOOTBALL PITCH - MORNING

Several kids are on the pitch, playing a game of football. A REFEREE is also on the pitch. A FOOTBALL CAPTAIN is standing by the edge of the pitch, cheering at his team. JOSEPH is sitting down on a bench, watching the game. He is wearing his football kit. He has an orange bib over the top of his t-shirt. KID 1 gets tackled by KID 2. KID 1 is on the floor in agony. The REFEREE blows his whistle.

FOOTBALL CAPTAIN (shouting)
Come on! That was a foul!

KID 3 helps KID 1 off the pitch. The FOOTBALL CAPTAIN turns to face JOSEPH.


FOOTBALL CAPTAIN (continued)
You’re up, Joseph. Do us proud, son.

JOSEPH
Got’cha.

JOSEPH gets to his feet. He takes the bib off, leaving it on the bench. He then runs onto the pitch. The REFEREE blows the whistle. The game continues. KID 2 kicks the football. It hits JOSEPH in the head. He falls to the floor unconscious. The FOOTBALL CAPTAIN sighs.

Cut to
INT - A HALL - MORNING

JOSEPH is still laying on the floor, out of breath. ACE is standing in front of JOSEPH, staring at him in disbelief.

ACE
Right...

Cut to
INT - A GYM - MORNING

JOSEPH and PADDY are standing inside the gym. JOSEPH has a mouth guard on. PADDY has a pair of boxing gloves on.

PADDY
Learning how to defend yourself is key. Sometimes, it will even save your life.

PADDY pauses.

PADDY (continued)
Show me what you’ve got.

JOSEPH goes to punch, PADDY. PADDY blocks the punch, then he
punches JOSEPH in the face.

PADDY
Keep your guard up.

JOSEPH goes to punch PADDY again. PADDY moves out of the way. PADDY punches him in the face again. JOSEPH goes to hit PADDY again. PADDY moves out of the way again. He goes to hit JOSEPH. JOSEPH blocks the attack, then he punches him in the face. PADDY falls to the floor. JOSEPH takes the mouth guard out.

JOSEPH
You’re not so tough now, are ya?

Cut to
INT - A FIRING RANGE - AFTERNOON

JOSEPH and CJ are standing in the firing range. They are both wearing casual clothes. There are some targets in the firing range. CJ takes out a gun. He holds the gun in his hands.

CJ
Most agents never have to use a gun, but it is important that you know how to use one in case that does happen.

CJ hands the gun to JOSEPH, who looks at it.

CJ (continued)
The gun is fully loaded. I want you to shoot all of the targets.

JOSEPH shoots all of the targets simultaneously. He turns to face CJ afterwards, who is looking at him in shock.

JOSEPH
What?

CJ (surprised)
Nothing. Are you sure that you’ve never used a gun before?

Cut to
INT - JOSEPH’S DORMITORY - EVENING

JOSEPH comes out of the bathroom. He is wearing casual clothes. He has a towel in his hands. His hair is damp. His trainers are by the door. JOSEPH puts the towel inside a washing basket. There is then a knock on
the door. JOSEPH opens it. SETH is standing in the doorway of the room.

JOSEPH (smiling)
Hey.

SETH
Do you wanna come out?

JOSEPH
Yeah. Sure.

JOSEPH puts his trainers on. He then walks out of the room, closing the door behind himself. They both start to walk away.

Cut to
EXT - OUTSIDE A SHOP - AFTERNOON

JOSEPH and SETH walk out of a shop. They each have a portion of chips in their hands, which they are eating. There are some people walking down the street. JOSEPH and SETH begin to walk down the street.

SETH
How’s your training been going?

JOSEPH
It's really tiring. My arms are so tight.

SETH
The first few days are the worst, but then you start to get used to it.

Cut to
EXT - A STREET - EVENING

JOSEPH and SETH sit down on a bench. They have now finished eating their chips. There are some people walking past them. JOSEPH and SETH
sit in silence for a moment. JOSEPH faces SETH.

JOSEPH
What made you come here?

SETH
Well, my Mum died when I was twelve. My Dad couldn’t cope after her death. He started to blame me for it. I got sent into care. That's how I ended up here.

Cut to
INT - JOSEPH’S DORMITORY - MORNING

JOSEPH is laying down on his bed, asleep. PADDY is sitting down on the edge of the bed. JOSEPH slowly opens his eyes. He sees PADDY sitting on the bed. He jumps.

PADDY
Don’t be afraid.

JOSEPH
What are you doing in here?

PADDY
We’re doing something different today. Make sure you’re ready to leave in fifteen minutes.

PADDY gets to his feet. He starts to walk across the room. He stops. He turns back to face JOSEPH.

PADDY (continued)
Who’s Lisa?

JOSEPH doesn’t answer him. PADDY smiles, then he walks out of the room, closing the door behind himself.

Cut to
INT - OUTSIDE JOSEPH’S DORMITORY - EVENING

PADDY is standing with his back against the wall. JOSEPH comes out of the dormitory. He is fully dressed. He closes the door. PADDY faces him.

PADDY
Are you ready?

JOSEPH
Yeah.

PADDY begins to walk down the corridor. JOSEPH walks with him.

JOSEPH
What are we doing?

PADDY
Giving you more of an insight into what we do. We’re going after a man called Jacob Pierce. He’s a thief who doesn’t know when to stop stealing.

JOSEPH
So, how are we gonna do it? Are you gonna take him out?

PADDY
Joseph, we’re not assassins. We’re just gonna talk to him.

JOSEPH
Ah, right.

Cut to
INT - ACE’S CAR - MORNING

ACE is sitting in the driver’s seat. The passenger door and the back right door open. PADDY climbs in the front passenger’s seat, and JOSEPH climbs in the back of the car.

ACE
Morning, guys.

ACE switches the engine on, and he begins to drive away.

Cut to
EXT - A STREET - MORNING

JACOB, mid-twenties, is standing in the street. He has a scruffy appearance. He sees an ELDERLY WOMAN standing by the edge of the street. She has a handbag and two bags of shopping in her hands. She drops the shopping on the floor. JACOB walks over to her.

JACOB
Allow me.

ELDERLY WOMAN
Oh, you’re so kind.

JACOB bends down and he begins to pick up the bags.

Cut to
INT - ACE’S CAR - MORNING

The car is parked across the road. JOSEPH, PADDY and ACE are sitting in the car, watching JACOB, as he picks up the ELDERLY WOMAN’S shopping.

PADDY
That’s our guy.

ACE
He’s a cheeky sod. That poor woman thinks he’s actually helping her.

PADDY faces ACE.

PADDY
Go get him.

ACE
Why should I do it? Why can’t Joseph do it?

PADDY
Joseph’s here to watch. Besides, you need the exercise.

ACE (sighing)
You’re the boss.

ACE climbs out of the car. JOSEPH and PADDY watch ACE as he starts to walk towards JACOB and the ELDERLY WOMAN.

Cut to
EXT - A STREET - MORNING

JACOB finishes picking up the ELDERLY WOMAN’S shopping. He hands the bags back to her.

JACOB
Here you are.

ELDERLY WOMAN
Thank you so much. You’re such a dear.

JACOB
Do you need a hand with your stuff? I don’t mind helping you.

ELDERLY WOMAN
That’s very kind of you.

The ELDERLY WOMAN hands her shopping back to JACOB.

JACOB
I could carry your handbag as well, if you like.

ACE walks over to them. He faces JACOB.

ACE
Jacob Pierce?

JACOB turns to face him.

JACOB
Yeah. What’s it to you?

ACE
I need you to come with me.

ELDERLY WOMAN
No. You can’t take him.

ACE faces her.

ACE
Ma’am, that man is a thief. He was going to steal your purse.

JACOB drops the shopping on the floor. He begins to run away. ACE runs after him.

Cut to
INT - ACE’S CAR - MORNING

JOSEPH and PADDY are still sitting in the car. They have seen JACOB running away from ACE.

PADDY (sighing)
I don’t believe this.

PADDY climbs into the driver’s seat. He switches the engine on, and he begins to drive after ACE and JACOB. JOSEPH quickly puts his seatbelt on.

EXT - A STREET – MORNING

JACOB is running down the street, pushing past all of the different people. ACE is running after him. JACOB looks behind himself. He sees that ACE is catching up to him. He runs even faster. ACE starts to fall behind. JACOB runs into the road.
PADDY pulls the car in front of him, slamming on the breaks. The car stops. JACOB runs into the car. He falls over. PADDY climbs out of the car. ACE runs over to them. He is out of breath. He leans against the side of the car to get his breath back. PADDY faces him.

PADDY
Glad to see me?

ACE (out of breath)
I had everything under control.

Cut to
INT - ACE’S CAR - MORNING

JOSEPH is sitting in the back of the car. ACE puts JACOB in the back of the car. He hands have been handcuffed together. ACE puts the seatbelt on for him, then he closes the car door. JOSEPH faces JACOB.

JOSEPH
Hi.

PADDY and ACE climb back inside the car. ACE switches the engine on, and he begins to drive away.

Cut to
INT - JOSEPH’S DORMITORY - AFTERNOON

JOSEPH is sitting on the bed, playing a driving game on the Playstation. There is a knock on the door. JOSEPH pauses the game. He gets to his feet, and he walks across the room. He opens the door. ACE is standing in
the doorway of the room.

ACE
Do you mind if I come in?

JOSEPH
Sure.

ACE steps inside the room. JOSEPH closes the door. ACE begins to look around the room. He sees that JOSEPH has been playing a driving game on the Playstation.

ACE
So, you like playing driving games?

JOSEPH
Yeah.

ACE
Fancy going for a real drive?

Cut to
INT - ACE’S CAR - AFTERNOON

ACE’S car is parked on a private road. JOSEPH is sitting in the driver’s seat. ACE is sitting in the front passenger’s seat. They both have their seatbelts on. ACE faces JOSEPH, who is nervously holding onto the steering wheel.

ACE
Are you sure you feel ready to do this?

JOSEPH (nervously)
Yeah.

ACE
Do you know what to do?

JOSEPH nods.

ACE (continued)
Show me the magic.

JOSEPH switches the engine on. He doesn’t accelerate properly and the
car stalls. JOSEPH switches the engine off.

JOSEPH
I can’t do this.

JOSEPH takes his seatbelt off, and he climbs out of the car.

Cut to
EXT - OUTSIDE ACE’S CAR - AFTERNOON

JOSEPH walks away from the car. He stands with his back to it. ACE climbs out of the car. He stands there, watching JOSEPH.

ACE
It’s okay that you don’t feel confident enough to drive yet.

JOSEPH turns to face ACE.

JOSEPH
It’s not that I don’t want to. I have a lot going on at the moment. I can’t think straight.

Episode 1 - Scene 6 A Deal

Cut to
INT - JOSEPH’S DORMITORY - MORNING

JOSEPH is laying down in his bed, asleep. JOSEPH’S phone is out on the desk. It begins to ring. JOSEPH reaches out. He picks it up, answering it.

EDWIN
Hello, Joseph.

JOSEPH sits up.

JOSEPH
Who’s this?

EDWIN
My name is Edwin. I trust that you have heard some bad things about me. You must know that none of them are true.

JOSEPH
What do you want?

EDWIN
You have something that I want. And I have something that you want. If you ever want to see your mother again, come and meet me. I shall text the location to you. You have two hours to get there. And please come alone.

EDWIN hangs up on JOSEPH. JOSEPH puts the phone down. He quickly climbs out of the bed. He gets dressed. He puts his trainers on. He opens the door, only to see PADDY standing there.

PADDY
Where are you going?

Cut to
INT – OUTSIDE JOSEPH’S DORMITORY - MORNING

JOSEPH walks out of the dormitory. He starts to walk along the corridor.
PADDY runs after JOSEPH. He holds onto JOSEPH’S shoulder. JOSEPH turns to face him.

PADDY (softly)
Talk to me, Joseph.


JOSEPH
I have to save my Mum. Edwin called me. He said that he wanted to meet me.

PADDY
He’s setting you up, Joseph. He wants you.

JOSEPH begins to cry. PADDY hugs him.

JOSEPH (tearfully)
I want my Mum back. I want her back.

Cut to
INT - THE LABS - MORNING

JOSEPH, PADDY and CJ are standing inside the labs. There are some other people working inside the room. CJ hands a microchip that is the size of a sim card to JOSEPH. He looks at it.

JOSEPH
What’s this?

CJ
It’s a tracker. Put it in your phone. If they take you, it will allow us to know your exact location.

JOSEPH takes out his phone from his right trouser pocket. He takes the back of it off, and he puts the microchip inside it.

Cut to
INT - EDWIN’S OFFICE - MORNING

EDWIN is standing inside the office. LINK is also standing inside the room. ENZIO comes inside the room. EDWIN turns to face him.

EDWIN
Take a seat, Enzio.

ENZIO sits down at the desk.

ENZIO
What can I assist you of this time?

EDWIN
I need you to pick someone up for me.

EDWIN nods to LINK, who takes out a small folder from his jacket. He hands it to ENZIO, who looks inside it. There is a photo of JOSEPH inside it. He nods. He gets to his feet, then he walks out of the room. He closes the door behind himself. EDWIN turns to face LINK.

EDWIN
I want you to follow him. Let me know how it goes.

Cut to
INT - PADDY’S CAR - MORNING

PADDY’S car is parked on the edge of the road. PADDY is sitting in the
driver’s seat. JOSEPH is sitting in the front passenger’s seat. They both have their seatbelts on. PADDY has a watch on his right wrist. PADDY faces JOSEPH.

PADDY
Are you sure you want to do this?

JOSEPH
Yeah.

PADDY
I will be watching. If they do anything to harm you, I will get you out.

PADDY looks at the time on his watch.

PADDY
It’s time for you to make a move.

Cut to
EXT – OUTSIDE PADDY’S CAR - MORNING

JOSEPH climbs out of the car. He closes the door behind himself. He begins to walk down the street.

Cut to
EXT - A STREET - MORNING

JOSEPH is standing in the street. He is looking for EDWIN. He can’t see him. There are several people walking around the street. ENZIO walks over to JOSEPH, who faces him.

JOSEPH
You’re not Edwin. He said that he’d be meeting me here.

ENZIO
Edwin’s not coming.

ENZIO opens his jacket, revealing a gun. JOSEPH looks at it.

ENZIO (continued)
Don’t make me use it.

JOSEPH
What are we waiting for?

ENZIO
Our lift.

JOSEPH moves towards ENZIO, who takes the gun out of his jacket. JOSEPH grabs hold of the gun, moving it upwards. ENZIO pulls the trigger. A bullet goes into the air. The crowd screams, and they start to run away. JOSEPH punches ENZIO in the face.
ENZIO drops the gun. It rolls across the floor. JOSEPH punches ENZIO in the face. ENZIO grabs hold of him. He pushes JOSEPH up against the wall. JOSEPH kicks ENZIO in the privates. He lets go of him, groaning. JOSEPH starts to run away. ENZIO runs after him. A van stops at the end of the street. A MAN climbs out of it. He grabs hold of JOSEPH, pulling him inside it.

Cut to
INT – THE VAN - MORNING

There are THREE MEN in the back of the van. ENZIO gets inside the van
a moment later. He closes the door.

ENZIO
Let’s get out of here.

The van starts to drive down the street. ENZIO grabs JOSEPH by the throat.

ENZIO (angrily)
If you think of doing something like that again, I will kill you. Do you
understand me?

JOSEPH doesn’t answer him. ENZIO lets go of him.

Cut to
INT - PADDY’S CAR - MORNING

PADDY is driving the car down the street. He drives in-between all of the cars. He stops the car at some traffic lights. He counts five seconds on his
watch, then he accelerates. He races down the road. The van goes past
him. PADDY drives into the side of it. The van rolls onto its side. PADDY stops the car.

Cut to
INT – THE VAN - MORNING

JOSEPH slowly opens his eyes. He has a bloody lip. All of the men, including ENZIO, are laying in a heap on the floor. JOSEPH opens the side door. He runs onto the street. He sees PADDY standing by his car.

PADDY (shouting)
Get in!

Cut to
INT – PADDY’S CAR - MORNING

JOSEPH quickly climbs inside the front passenger’s seat of the car. A
MAN climbs out of the van. PADDY takes out his gun. He shoots the MAN in the stomach. PADDY puts the gun away. He climbs back inside the car.
He faces JOSEPH.

PADDY
Are you okay?

JOSEPH
Yeah.

PADDY switches the engine on. He starts to drive away. The MEN get out of the van. They start to shoot at PADDY’S car. He continues to drive away.

Cut to
INT - LINK’S CAR - MORNING

LINK’S car is parked in a lay-by. LINK is sitting in the driver’s seat. He
has just seen what happened. He takes out his phone from his right trouser pocket. He starts to ring EDWIN. The phone connects a moment later.

LINK
He got away.

Cut to
INT - PADDY’S CAR - MORNING

PADDY is still driving the car down the street. JOSEPH looks out of the window to see where they are going.

JOSEPH
Where are we going?

PADDY
There’s a hotel on the other side of town. We’re gonna stay there for a while.

Cut to
INT - EDWIN’S OFFICE - MORNING

EDWIN is sitting down at his desk. KAT, mid-thirties, comes inside the room. She is wearing scantily clad clothes. She starts to walk towards EDWIN.

KAT
I understand you ran into a spot of trouble.

KAT sits on EDWIN’S lap. She wraps her legs around EDWIN’S waist.

EDWIN
Enzio failed to get Joseph. I want you to find out where he’s gone to and get him.

KAT
You should never let a man do a woman’s job.

KAT kisses EDWIN on the cheek.

KAT (continued)
Consider it done.

KAT gets to her feet and she walks out of the room.

Fade Out



To Be Continued...

Episode 2 - Scene 1 Checking In

Fade In

INT - THE HOTEL LOBBY - AFTERNOON

JOSEPH and PADDY walk inside the hotel. A RECEPTIONIST, early thirties, is standing behind the reception counter. NATALIE is also standing inside the room.
She watches PADDY. There are also some guests standing inside the lobby. JOSEPH and PADDY walk over to the reception counter. The RECEPTIONIST faces him.

RECEPTIONIST (politely)
Good afternoon. How may I help you?

PADDY
I have a reservation. The name’s Paddy. Paddy Norton.

The RECEPTIONIST types PADDY’S name into the computer. She hands a key card to PADDY afterwards.

RECEPTIONIST
Your room is the penthouse suit. If there’s anything you need, don’t forget to ask.

PADDY
Thank you.

JOSEPH and PADDY start to walk away.

JOSEPH (muttering)
You’re such a flirt.

PADDY laughs.

Cut to
INT - THE PENTHOUSE SUITE - AFTERNOON

JOSEPH and PADDY walk inside the penthouse suite. He closes the door behind himself. He puts his bag down on the floor. He then looks around the suite. JOSEPH sits down on the settee.

JOSEPH
I could get used to living like this.

PADDY
I’m just going outside to make a call. I’ll be back in a minute.

PADDY walks out of the penthouse. He closes the door behind himself. JOSEPH gets to his feet. He walks across to the window. He looks out of it.

Cut to
INT - BILLY'S OFFICE - AFTERNOON

BILLY is sitting at his desk. He has JOSEPH'S application form out in front of him, which he is reading. He sees JOSEPH'S address. With the form in his hands, he gets to his feet and he walks out of the room, closing the door behind himself.

Cut to
INT - BILLY’S CAR - AFTERNOON

BILLY stops the car outside JOSEPH’S house. He switches the engine off. He looks at the front of the house. He then takes his seatbelt off and he climbs out of the car. He closes the door behind himself.

Cut to
EXT - OUTSIDE JOSEPH’S HOUSE - AFTERNOON

BILLY walks across the garden. He stops by the front door. He rings the doorbell. He waits for a moment, but there is no response. He rings the doorbell again. There is still no response. A DOG WALKER, early fifties, is walking down the street. He stops outside the house. He watches BILLY, as he stands by the door.

DOG WALKER
They’re not in.

BILLY turns to face the DOG WALKER. He walks towards him.

BILLY
Do you know when they’ll be back?

DOG WALKER
Not a clue. That house has been empty for at least a week now. If you ask me, the aliens took ‘em.
BILLY
Aliens?!

DOG WALKER
Don’t kid yourself. They’re real. It’s only a matter of time before they reveal their selves to us.

The DOG WALKER leans forward.

DOG WALKER (whispering)
Don’t say I didn’t warn you.

The DOG WALKER chuckles, then he carries on walking down the street.
BILLY watches him as he walks away.

BILLY
What a strange one...

Cut to
INT – OUTSIDE THE PENTHOUSE SUITE – AFTERNOON

PADDY is standing outside the penthouse suite. He is on the phone to ACE.

PADDY
I thought it would be best for him to lay low for a while. I don’t think he’s ready to carry on at the moment.

ACE
Well, as long as they don’t get the code he'll be fine, won’t he?

Cut to
EXT – OUTSIDE MI6 HEADQUARTERS – AFTERNOON

ACE is standing by the entrance of the building. He has his phone in his hands. NICKY comes out of the building. She sees ACE standing there.
She faces him.

NICKY
Who were you on the phone to?

ACE turns to face her.

ACE
Paddy. He said that he’s staying at the Casablanca Hotel with Joseph.

NICKY
What’s he doing there?

ACE
What's it to do with you?

NICKY
I was just wondering.

ACE
Well, stop wondering and get back to work. You have a job to do.

ACE walks inside the building. NICKY looks around. She sees that no one
is there. She takes out her phone. She takes out her phone. She begins to ring EDWIN. He answers the phone a moment later.

NICKY
It’s me. They’re staying at the Casablanca Hotel.

SETH is hiding around the corner. He is listening to her conversation.

Cut to
INT – CHARLIE’S OFFICE – AFTERNOON

CHARLIE is sitting down at his desk. He has his head slumped over the top of his desk. BILLY is also standing inside the room. He has a folder in his hands.

CHARLIE (moaning)
The candidates for this year’s show are appalling. It’s a disgrace to call them singers. One’s a forty-two year old pub singer with a beer belly. There’s no way he’s gonna appear on the cover of a CD.

CHARLIE pauses.

CHARLIE (continued)
Have you found out anymore on that kid yet?

BILLY
Yes, I have. According to a neighbour, the house has been empty for at least a week. We even checked out his school. No one’s seen him.

CHARLIE
So there’s no way of finding him?

BILLY shakes his head. CHARLIE slumps back over the top of his desk. He moans to himself.

Cut to
INT – THE PENTHOUSE SUITE – AFTERNOON

JOSEPH is sitting down on the settee. PADDY sits down next to him. JOSEPH faces him.

JOSEPH
I want to know about the code.

PADDY
The code on your chest is the activation code to a bomb. If it is activated, it could wipe out the whole of the city. That’s why Edwin cannot get his hands on it.

PADDY pauses.

PADDY (continued)
You know, you’ve changed a lot since I first met you. You were afraid of pretty much anything. But now you’ve matured into a fine young adult.

JOSEPH (smiling)
Thanks.

PADDY
You’re not that bad a singer either.

JOSEPH
I might as well give it up now. There’s no way I’m gonna be able to sing again.

Cut to
INT - A CELL - AFTERNOON

CRYSTAL is sitting on the bed. She is facing EDWIN, who is sitting on the floor with his back against the wall. He is staring at the wall as he quietly
talks to her.

EDWIN
I had a family once. Just like you. My wife. Molly, her name was. She meant
the world to me. We had a son. He was twelve when it happened. Someone broke into our house. He took my wife and threatened her at gunpoint. I was helpless. There was nothing I could do. I watched as he killed her. Two bullets to the chest. He left after that. Who’d have thought my job would get my wife
killed?

CRYSTAL
You shouldn’t have been doing what you were doing. You were asking for
something like that to happen.

EDWIN
After that night, I couldn’t bare to look at my son again. I could see so much of my wife in him. He had her eyes. I sent him into a care home after her funeral. I haven’t seen him since.

CRYSTAL (shocked)
How can you do something like that to your own child?

EDWIN faces her.

EDWIN
Look at me. Do you have any idea what type of person I am?

CRYSTAL
I think you’re grieving over your wife. That’s why you’re doing this. I know what it’s like losing someone you love. I’ve been through exactly the same. But you need to get over her. Start again. I can help you.

EDWIN
There’s nothing you can do to help me.

EDWIN gets to his feet and he walks out of the room. He closes the door
behind himself. CRYSTAL sighs.

Episode 2 - Scene 2 Undercover Information

Cut to
INT - THE LABS - EVENING

CJ is standing at a table, typing something onto a computer. There are some other people working inside the labs. SETH comes inside the labs. He walks over to CJ, who faces him.

CJ (smiling)
Hey, Seth. What can I do for you?

SETH
Can you help me track someone’s calls?

CJ
Who?

SETH
Nicky.

CJ (surprised)
Nicky? Why the hell do you need to spy on her for?

SETH
I heard her talking to someone on the phone earlier. She told them where Paddy
is staying. Can you check her calls?

CJ
All right. I’ll do it. But there’s just one problem. I need you to plant a tracker
on her phone.

SETH
Me? Why can’t you do it?

CJ
It’ll look suspicious if I do it. You’re a teenager. Your hormones are flying all over the place.

SETH
What’s that got to do with anything?

CJ
I was just saying. That's all.

Cut to
EXT - OUTSIDE NICKY’S CAR - EVENING

NICKY walks over to her car. She puts her handbag on the roof of the car. She searches through it for her car keys. SETH comes walking towards her.

SETH
Hey, Nicky.

NICKY drops the handbag on the floor. All of the contents fall out of it. The cover on her phone comes off as well.

NICKY (muttering)
Crap!

SETH
I’ll pick your stuff up for you.

NICKY
Thank you.

SETH gets down on his knees. He begins to put all of NICKY’S belongings
back inside the handbag. He reaches her phone. He slyly puts the tracker in with the phone’s battery. He puts the cover back on the phone. He then
finishes putting everything inside the handbag. He gets to his feet, and he hands the bag back to NICKY.

SETH
Here you go.

NICKY (smiling)
Thank you. That was really good of you.

SETH
I try.

They both stand there in silence for a moment.

SETH (continued)
Well, I better let you go now.

SETH begins to walk away. NICKY watches him.

NICKY
Wait.

SETH turns back to face her.

NICKY (continued)
Wasn’t there something you wanted to tell me?

SETH
No. I just came to say goodbye.

NICKY looks at him suspiciously. She smiles at him. He smiles back at her.

NICKY
Goodbye, Seth.

NICKY climbs inside the car. She switches the engine on, and she begins to drive away. SETH waits until the car disappears out of sight, then he breathes a sigh of relief.

Cut to
INT - THE LABS - EVENING

CJ is standing at the worktop, typing something onto the computer. SETH
walks inside the room. CJ faces SETH as he walks over to him.

SETH (smiling)
Piece of cake.

CJ
Right. Let’s see what she’s been up to.

CJ begins to type something onto the computer.

Cut to
INT - NICKY’S CAR - EVENING

The car is parked in a lay-by. NICKY is sitting in the driver’s seat. She is on the phone to EDWIN. Her handbag is on the front passenger’s seat.

NICKY
I think they’re onto me.

Cut to
INT – THE HOTEL LOBBY – EVENING

KAT walks inside the hotel. She has a bag in her hands. She places it down on the ground. She takes out a card from her jacket, which has got the penthouse suite written on it. She puts the card away. She then walks towards the stairs.

Cut to
INT - THE PENTHOUSE SUITE - EVENING

JOSEPH is sitting down on the settee, watching the television. The light is on. PADDY comes out of the bedroom. He faces JOSEPH.

PADDY
Do you wanna come down the bar with me?

JOSEPH
Do you mind if I stay up here?

PADDY
Sure. I’ll see you later.

JOSEPH
Cya.

PADDY walks out of the penthouse. He closes the door behind himself. JOSEPH picks up his hoody from off the table. He puts it on. He then walks out of the penthouse. He closes the door behind himself.

Cut to
EXT - OUTSIDE A HOTEL ROOM - EVENING

KAT stops outside a hotel room. She places the bag down on the floor. She knocks on the door.

MAN 1 (calling)
Who is it?

KAT
Room service.

MAN 1 opens the door. He sees KAT standing in the doorway of the room.

MAN 1
What the hell is this?

KAT
Spring cleaning.

KAT takes out a silenced pistol. She shoots MAN 1 in the stomach, who falls to the floor, dead. She puts the gun away. She then picks up her bag and she steps inside the room. She closes the door behind herself.

Cut to
INT - A BAR - EVENING

PADDY is sitting at the bar, drinking from a pint of beer. NATALIE is sitting at the other end of the bar. She has a glass of wine in front of her. The BARMAN is standing behind the bar. PADDY looks across to NATALIE. He then gets to his feet. He walks over to her.

PADDY
Is this seat taken?

NATALIE
No.

PADDY sits down next to her. NATALIE takes a sip of her wine. PADDY watches her.

PADDY
I’m Paddy.

NATALIE
Natalie.

PADDY
That’s a nice name.

NATALIE (smiling)
Thanks.

PADDY
So, what is it you do?

Episode 2 - Scene 3 An Assassination Attempt

Cut to
INT - AN INTERNET CAFÉ - EVENING

JOSEPH walks inside the building. There are some people quietly working at some individual computers. He walks towards the back of the room, where a SHOPWORKER, early thirties, is standing behind the till.

SHOPWORKER
Alright, mate?

JOSEPH (politely)
Hi. Is it okay to use a computer?

SHOPWORKER
There’s a spare computer by the printer. You have to pay for a minimum of thirty minutes usage.

JOSEPH
That’s fine.

JOSEPH goes to take out his wallet.

SHOPWORKER
Pay me once you’re finished using the computer.

JOSEPH puts the wallet away. Hr then walks over to the computer by the printer. He sits at it. He loads up the internet. He types in the web address of the music show. The website loads up.
He sees that the auditions are now over and that the finalists have been chosen to appear on the live shows. He sighs. The SHOPWORKER stands next to JOSEPH. He looks at the screen. JOSEPH is unaware that he is there.

SHOPWORKER
I never figured that would be your cup of tea.

JOSEPH faces the SHOPWORKER, then he looks back at your computer screen.

JOSEPH
Err, no. My sister watches it. She missed last week’s episode, so…

SHOPWORKER
Ah, right. She didn’t miss a lot.

The SHOPWORKER walks away.

Cut to
INT – A HOTEL ROOM – EVENING

KAT is sitting down on the edge of the bed. The bag is also on the bed. KAT opens it, taking out a dagger. She holds it in her hands.

Cut to
INT – A BAR – EVENING

PADDY and NATALIE are still sitting at the bar, talking to each other. PADDY has a pint of beer in front of him. NATALIE has a glass of wine in
front of her. Some music is playing in the background.

PADDY
Come on. Let’s dance.

NATALIE
No. I don’t dance.

PADDY (insistently)
Come on.

PADDY gets to his feet. He holds his hand out, and NATALIE takes it. He leads her onto the dance floor, where some other people are dancing. They both begin to dance.

Cut to
EXT - OUTSIDE THE INTERNET CAFÉ - EVENING

JOSEPH walks out of the building. He has his hands inside his trouser pockets. He begins to walk down the street, in the direction of the hotel. He passes an alleyway. LINK steps out of it. He grabs hold of JOSEPH’S arm, who struggles.

LINK
Don’t struggle.

JOSEPH stops struggling. LINK lets go of him.

Cut to
INT - A CAFÉ - EVENING

JOSEPH and LINK are sitting at a table. JOSEPH has an opened can of drink in his hands. There are some people sitting at other tables around the room. LINK looks at them all. He turns back to face JOSEPH, who takes a mouthful of drink.

LINK (whispering)
You need to have less trust in the people you’re working with.

JOSEPH
What do you mean?

LINK
Edwin has people working on the inside. How do you think he found you in the first place?

JOSEPH doesn’t answer him. LINK brings out a brown envelope from his jacket. He places it on the table.

LINK (continued)
Open it.

JOSEPH picks up the envelope. He opens it, bringing out a photo of ACE and EDWIN secretly meeting together.

JOSEPH (shocked)
That’s not possible.

LINK
We never met.

LINK gets to his feet and he walks away, leaving JOSEPH sitting on his own.

Cut to
INT - THE PENTHOUSE SUITE - EVENING

PADDY and NATALIE burst inside the penthouse suite. They are kissing
passionately. PADDY kicks the door shut. He also switches the light on.
They move across to the bed. NATALIE pushes PADDY onto the bed.

NATALIE
Wait here. I need to get something from my room.

NATALIE walks out of the room. She closes the door behind herself. PADDY sits on his own. KAT comes out of the bathroom. PADDY faces
her. She suddenly takes out a dagger. PADDY gets to his feet.

PADDY (shocked)
What the hell is this?

KAT throws the dagger at him. It gets stuck in his arm. PADDY looks at his arm in shock.

PADDY (loudly)
Ow!

PADDY takes the dagger out of his arm. He drops it onto the floor. KAT takes out another dagger. PADDY picks up a chair. KAT throws the
dagger at him. It gets stuck in the chair. PADDY begins to move closer towards her. KAT takes out another dagger. She throws it at him.
It also gets stuck in the chair. PADDY hits her in the face with the chair. She falls onto the bed. PADDY throws the chair onto the floor. He
gets onto the bed. He grabs hold of KAT, holding her onto the bed. She tries to get free, but she can’t. She groans.

Cut to
INT - THE FLOOR BELOW - EVENING

An OLD MAN and an OLD WOMAN are sitting in bed. They are each reading a book. They hear the bed squeaking from inside the penthouse suite, and KAT groaning. The OLD MAN chuckles to himself.

OLD MAN (smiling)
That reminds me of the good days.

The OLD WOMAN glares at him.

Cut to
INT - THE PENTHOUSE SUITE - EVENING

PADDY is still holding KAT onto the bed. She stops struggling.

PADDY
Who sent you to kill me?

KAT doesn’t answer him. PADDY takes out a dagger from the chair. He is about to stab her in the leg, but she squirms.

KAT
Edwin.

PADDY
How did he find me?

KAT
I don’t know. He got a tip-off. That’s all I know.

PADDY lets go of KAT. She gets up.

PADDY
Get out of here. And if you try to come back, I will kill you.

KAT gets off the bed. She quickly runs across the room. She runs out of the room, closing the door behind herself. PADDY looks at the cut on his
arm. It is bleeding. NATALIE comes back inside the room a moment later. She has her handbag in her hands. She sees that PADDY’S arm is bleeding.

NATALIE (shocked)
Oh, my God! What happened to you?

PADDY
It’s nothing to worry about.

NATALIE walks across the room. She sits down on the bed. She looks at PADDY’S arm.

NATALIE
I can get that sorted out for you.

PADDY
I’m fine.

PADDY faces her. They both begin to kiss.

Cut to
INT - THE PENTHOUSE SUITE - NIGHT

JOSEPH walks inside the penthouse. He closes the door behind himself.
He has the envelope in his hands. He switches the light on. He sees PADDY, who is sitting on his seat. He gets to his feet.

PADDY
Where have you been?

JOSEPH
I went to check on the show. I didn’t know if it had begun yet.

PADDY
You shouldn’t have gone out.

JOSEPH
I know. I’m sorry.

PADDY sees the envelope in JOSEPH’S hands.

PADDY
What’s that?

JOSEPH
You need to see this.

JOSEPH hands the envelope to PADDY, who opens it. He brings out the photo of ACE and EDWIN meeting together. He faces JOSEPH.

PADDY
Who gave you this?

JOSEPH
Some guy. Apparently he works for Edwin.

PADDY takes out his phone. He rings OWEN, who answers the phone a moment later.

PADDY
Sir, I have something I think you should see.

Cut to
INT - ACE’S APARTMENT - NIGHT

ACE is sitting on the settee, watching the television. He is using the remote to flick through the channels. He switches the television off. He gets to his feet. The apartment door suddenly bursts open. Several armed police officers come inside the apartment. They surround ACE.

POLICE OFFICER
You’re under arrest! Put your hands in the air!

ACE puts his hands in the air.

ACE
Who authorized this?

OWEN steps inside the apartment.

OWEN
I did. You’re being investigated for treason.

ACE (surprised)
Treason?!

OWEN
Take him away.

Some police officers grab hold of ACE and they begin to take him across the apartment, towards the door. ACE struggles with them.

ACE
I haven’t done anything wrong! You can’t do this to me! You can’t do this.

ACE is taken out of the apartment. OWEN follows them out of the apartment.

Cut to
INT - AN INTERROGATION CELL - NIGHT

ACE is sitting at a table on his own. His hands have been handcuffed together. The door opens. OWEN steps inside the room. He closes the door behind himself. It locks. He has the photo of EDWIN and ACE together in his hands. ACE faces him.

ACE (relieved)
At last. Are you gonna tell me what the hell’s going on?

OWEN
I think you should tell us what’s going on.

ACE
I don’t understand. What am I meant to have done?

OWEN
Take a look at this. There’s photographic proof that you have been in contact with Edwin.

OWEN hands the photo to ACE, who looks at it.

ACE
That’s fake. I’ve never met him in my life.

OWEN
Well, obviously you have. This was taken last Summer. And at the time, you were on leave.

ACE
I’m not a traitor.

OWEN
Then what were you doing with your time?

ACE (reluctantly)
I… was seeing someone.

OWEN sits down in front of him.

OWEN
We’ll soon know the truth. CJ is tracing the source of the photo.

ACE
Look. I may be many things, but I’m not a liar or a traitor. You know this.

OWEN
There’s one thing I’ve learnt over the years and that’s you can’t trust anyone. Especially those who work with you.

OWEN’S phone begins to ring. He takes it out of his jacket and he answers it. ACE sits there, watching him.

Cut to
INT - THE PENTHOUSE SUITE - NIGHT

JOSEPH is sitting at the table. He is watching PADDY, who is standing in
the middle of the room, talking to OWEN on the phone. He finishes the phone call. He then turns to face JOSEPH.

PADDY
That was Owen. The photo was fabricated.

JOSEPH
I’m really sorry. I didn’t meant to cause you any unnecessary trouble.

PADDY sits down at the table.

PADDY
You did the right thing. You weren’t to know. I fell for the photo as well.

JOSEPH
I feel really bad. Ace is such a nice guy.

PADDY
Don’t beat yourself up over it. It was only a mistake. An easy mistake.

PADDY pauses.

PADDY (continued)
You better get yourself to bed. It’s really late.

JOSEPH gets to his feet and he begins to walk towards the spare bedroom. He stops by the door.

JOSEPH
Goodnight, Paddy.

PADDY
Goodnight.

JOSEPH walks inside the room. He closes the door behind himself. PADDY sighs.

Episode 2 - Scene 4 Morning Escape

Cut to
INT - THE PENTHOUSE SUITE - MORNING

NATALIE is standing over the sink. She is washing her hands. JOSEPH comes out of the spare bedroom. He is yawning. He sees NATALIE standing inside the penthouse. She turns to face him.

NATALIE (surprised)
Oh. Hello.

JOSEPH
I am in the penthouse, aren’t I?

NATALIE
Yes.

JOSEPH (relieved)
Good. I had a feeling I’d been sleep-walking again.

NATALIE
Don’t worry. You’re okay. I’m Natalie, by the way.

JOSEPH
Joseph.

JOSEPH sits down at the table.

NATALIE
If you’re wondering where your Dad is, he’s asleep.

JOSEPH
Oh no. He’s not my Dad.

NATALIE walks over to the fridge. She opens it. JOSEPH gets to his feet. He opens a drawer, taking out a rolling pin. He walks over to NATALIE. He raises the rolling pin into the air. He is about to hit her, but she quickly turns around, and grabs hold of the rolling pin.

JOSEPH
Nice reflexes.

JOSEPH lets go of the rolling pin. NATALIE puts it back in the drawer.

JOSEPH
Who do you work for? You can’t be British otherwise Paddy would’ve heard of you.

NATALIE
I work for the CIA. We heard about Edwin searching for the bombs, so I was sent over here to investigate.

JOSEPH
I wonder what Paddy would say if he knew the truth about you. I better go tell him.

JOSEPH starts to walk towards PADDY’S bedroom. NATALIE quickly runs in front of him.

NATALIE (desperately)
No, please. He mustn’t find out. It would blow my cover.

NATALIE gets down on her knees. PADDY then comes out of the bedroom. JOSEPH and NATALIE turn to face him. NATALIE quickly gets to her feet.

PADDY
I don't wanna know what you two were doing.

Cut to
INT - THE HOTEL LOBBY - MORNING

A THUG walks inside the hotel. Five men also follow him inside the hotel. The THUG walks over to the lift. He presses a button. The lift doors open. He walks inside it. He presses the button for the penthouse suite. The lift doors close afterwards.

Cut to
INT - THE PENTHOUSE SUITE - MORNING

JOSEPH, PADDY and NATALIE are sitting at the table, eating their breakfasts. There is a knock on the door. PADDY gets to his feet.

PADDY
I’ll get it.

PADDY walks over to the door.

PADDY (continued)
Who is it?

THUG
Room service.

PADDY opens the door. He sees that the THUG is standing there. The THUG grabs hold of him, lifting him into the air. He throws PADDY across the room.

PADDY (loudly)
Jesus!

PADDY lands on the floor. The THUG walks inside the penthouse. JOSEPH and NATALIE quickly get to their feet. PADDY gets to his feet. He punches the THUG in the face. He is unaffected by the blow. The THUG lifts PADDY into the air again. He throws PADDY across the table. He lands on the floor. The THUG begins to walk towards him.
NATALIE takes out a gun from her handbag. She loads it. She shoots the thug in the stomach. The THUG turns to face her. NATALIE shoots the THUG another two times. He falls to the floor, dead. PADDY gets to his feet. He faces her.

PADDY (surprised)
Where’d you get the gun from?

NATALIE
Occupational hazzard.

JOSEPH fakes a cough.

JOSEPH (coughing)
CIA.

PADDY
CIA?

NATALIE
It’s a long story.

NATALIE places the gun down on top of the table. JOSEPH picks it up. He begins to play with it.

PADDY
We’ve got enough time. Why don’t you explain?

The five men suddenly burst inside the penthouse. They are all armed.
They start to shoot at JOSEPH, PADDY and NATALIE. They all duck for cover behind the settee.

PADDY (loudly)
Gun!

N throws the gun to PADDY. It hits him in the face.

PADDY
Ow!

JOSEPH
Sorry.

PADDY picks up the gun from off the floor. He then comes out from behind the settee. He shoots down all of the men. They all get to their feet afterwards. NATALIE walks over to the window. She looks out of it. A car pulls up outside the entrance of the hotel. Three men climb out of the car.

NATALIE
There’s more arriving.

PADDY
We need to get out of here.

JOSEPH, PADDY and NATALIE run out of the penthouse suite.

Cut to
INT – OUTSIDE THE PENTHOUSE SUITE – MORNING

JOSEPH, PADDY and NATALIE are running down the corridor. PADDY stops running. He walks over to a fire switch. He smashes the glass, setting off the fire alarm. The fire alarm begins to blare throughout the building. All of the guests begin to leave their hotel rooms.

Cut to
INT - THE HOTEL LOBBY - MORNING

The three men walk inside the building. All of the guests come down the stairs. They begin to walk out of the building. The men look at the guests,
in search of JOSEPH and PADDY.

Cut to
INT - A LIFT - MORNING

JOSEPH, PADDY and NATALIE are standing inside the lift. The lift doors close. Some classical music begins to quietly play in the background.

PADDY
I think we should take my car.

NATALIE
No. My car’s outside. We should take that. It’ll be easier to get to from here.

NATALIE presses the button for the ground floor.

PADDY
That was really immature, you know that?

NATALIE faces PADDY.

NATALIE
I don’t think you quite understand the situation here, Paddy. They know you’re staying here, which means they’ve probably planted a bomb on your car.

PADDY scoffs.

PADDY
Don’t be so ridiculous.

NATALIE
You’re the one being ridiculous.

PADDY
Me?! As I recall, as soon as you left the room last night, someone tried to kill me! Or did you forget about that?

NATALIE (angrily)
Don’t you dare accuse me of that!

PADDY
Well, it can’t be a coincidence, can it?

The lift doors open on the ground floor. The three men are standing by the
lift. PADDY and NATALIE aren’t aware of them being there.
NATALIE
I did not try to have you killed.

PADDY
Well, someone wants me dead.

JOSEPH
Hey, guys. I think you should take a look.

PADDY faces JOSEPH, who points to the men. PADDY turns to face them.

PADDY (smiling)
Hi.

The lift doors close again, just as the men take out their weapons. PADDY faces NATALIE.

PADDY
Now do you want to take my car?

Cut to
INT - THE HOTEL CAR PARK - MORNING

JOSEPH, PADDY and NATALIE run into the car park. PADDY’S car is parked on the other side of the room. They begin to run towards it.

Cut to
INT - PADDY’S CAR - MORNING

JOSEPH, PADDY and NATALIE climb inside the car. PADDY gets inside the driver’s seat. NATALIE sits in the front passenger’s seat, and JOSEPH gets in the back of the car. They all put their seatbelts on. PADDY switches the engine on. He starts to drive the car out of the car park. He takes his phone out of his right trouser pocket. He begins to ring ACE, who answers the phone a moment later.

ACE
Hello?

PADDY
Ace, it’s me. Listen. I don’t have time to explain, but they found us.

ACE
Okay. Where are you now?

PADDY begins to drive the car down the street. There are several cars on
the road.

PADDY
We just left the hotel. I’m heading back to Headquarters now.

ACE
I’ll alert local police. Get them to give you a hand.

PADDY
Okay. Thanks.

PADDY finishes the call. He puts the phone down. He continues to drive the car down the street.

Cut to
INT - OWEN’S OFFICE - MORNING

OWEN is sitting at his desk, reading from a sheet of paper. He has a pair of glasses on. ACE suddenly bursts inside the room. He closes the door behind himself. OWEN faces ACE.

ACE
Sir, we’ve got a problem. Paddy’s position has become compromised.

OWEN
Where is he now?

ACE
He’s on his way here. He should be here within the hour.

OWEN takes the glasses off. He places them on top of the desk.

OWEN
How did this happen?

ACE
I don’t know, but I think he has someone working on the inside.

Cut to
INT - OUTSIDE OWEN’S OFFICE - MORNING

NICKY is standing outside the room, listening to ACE and OWEN’S conversation. She takes out her phone. She quickly texts EDWIN. She puts the phone away, just as ACE comes walking out of the room. He closes the door behind himself. He faces NICKY, who tries to act innocent.

ACE
What are you doing?

NICKY
Nothing. I was just waiting for you to finish in there.

ACE looks at NICKY suspiciously. Her phone bleeps.

ACE
Was that your phone?

NICKY (innocently)
Personal text.

ACE
You can get in trouble for that, Nicky. Switch it off. I don’t wanna hear it again.

NICKY
I’m sorry. It won’t happen again.

ACE
Make sure that it doesn’t.

ACE begins to walk away. NICKY waits until he disappears out of sight, then she takes out her phone.

Cut to
INT - PADDY’S CAR - MORNING

PADDY is driving the car down the street. They reach some traffic lights. They turn red. PADDY stops the car. A car suddenly drives into the side of the car. It rolls onto its roof. They are all unconscious. ENZIO climbs out of the car. He runs over to PADDY’S car.
He opens the back door, grabbing hold of JOSEPH. He puts him in the back of his car. He also gets inside the car. The car starts to drive
away. PADDY and NATALIE slowly open their eyes. NATALIE holds onto her head. PADDY faces her.

PADDY
Are you okay?

NATALIE
Yeah.

PADDY looks into the back of the car. He sees that JOSEPH is gone.

PADDY
They’ve taken him.

Episode 2 - Scene 5 Face To Face With A Killer

Cut to
INT - A LOBBY - AFTERNOON

JOSEPH slowly opens his eyes. He is sitting on a seat. His hands and feet have been tied to the seat. EDWIN and LINK are standing in front of him. There is a seat next to them. The light keeps flickering on and off. JOSEPH looks at them.

EDWIN
I’ve been waiting for this day for the past thirteen years. Ever since your father did this to my face.

JOSEPH
It hasn’t helped your appearance.

EDWIN clicks his fingers. LINK punches JOSEPH in the stomach. He groans.

EDWIN
You’re not in a position to do much, so it’s best that you stop with the jokes. Now, let’s see the code.

EDWIN lifts up JOSEPH’S t-shirt. He sees that there is nothing on his stomach. LINK takes out a scanner. He hands it to EDWIN, who switches it on. He scans JOSEPH’S stomach, and the code becomes visible.

EDWIN
It’s amazing.

LINK writes the code down onto a sheet of paper. EDWIN lowers
JOSEPH’S t-shirt afterwards. He also turns the scanner off, and he puts it on the floor.

JOSEPH
I know why you need the code. But what are you trying to achieve by doing this?

Cut to
INT - OWEN’S OFFICE - AFTERNOON

OWEN is sitting down at his desk. He is wearing a suit. PADDY and NATALIE burst inside the room. OWEN gets to his feet.

OWEN
I heard what happened.

PADDY
I don’t understand how they found us. I only told Ace about what happened.

OWEN
You think Ace is the mole?

PADDY
No. It’s not him. Find out who he told. If we narrow it down to a few people, we’d be able to find out who it is.

Cut to
INT - A LOBBY - AFTERNOON

JOSEPH is still tied to the seat. EDWIN is sitting down in front of him.
LINK is standing next to EDWIN.

EDWIN
Our target is the Prime Minister’s birthday party this evening. We will take
control of it. If he meets our demands, then we shall not use the bomb. But if he doesn’t, goodbye London.

JOSEPH
You can’t do that. Thousands of innocent people will die.

EDWIN
That’s why the Prime Minister better listen to our demands.

JOSEPH
You won’t get away with this, Edwin.

EDWIN
Who’s gonna stop me? A sixteen year-old who wants to sing? It’s a shame. If you weren’t so against my ideas, I would actually allow you to help me.

Cut to
INT - THE LABS - AFTERNOON

SETH and CJ are standing inside the labs, looking at a computer screen. It has all of NICKY’S recent calls on it. SETH points to the most recent one.

SETH
There. Is there a way to bring up the conversation?

CJ clicks on it. It comes up with all of the details from the call. CJ types something into the computer. The phone conversation with EDWIN begins to play. CJ turns the volume up on the computer.

SETH
That’s him.

CJ
How do you know?

SETH
I think I know my Dad’s voice.

The computer screen fuzzes. It shuts down. CJ tries to switch it back on.

CJ
No. This can’t be happening.

Cut to
INT - A CELL - AFTERNOON

CRYSTAL is sitting on the floor. LINK comes inside the room. He has JOSEPH with him. JOSEPH’S hands are tied together. LINK pushes JOSEPH inside the room. He walks out of the room. He closes the door behind himself. CRYSTAL looks at JOSEPH.

JOSEPH (happily)
Mum!

CRYSTAL gets to her feet. She hurries over to JOSEPH, hugging him. She cries. She begins to untie his hands.

CRYSTAL (tearfully)
My baby. It’s so good to see you again. I didn’t think I’d ever see you again.

JOSEPH
They got the code. They’re planning to use it to destroy London. I need to get out.

CRYSTAL
I have an idea.

Cut to
INT - OWEN’S OFFICE - AFTERNOON

PADDY, NATALIE and OWEN are standing inside the room. ACE walks inside the room. They turn to face him.

ACE
You wanted to speak to me?

PADDY
When I spoke to you yesterday about me staying in the hotel, who did you tell?

ACE
Only Nicky. Why?

NATALIE
It must be her.

ACE
Is someone gonna tell me what’s going on?

OWEN
That’ll be all.

ACE walks out of the room. OWEN turns to face PADDY.

OWEN (continued)
Are you sure it’s her?

PADDY
It must be. She’s the only one who Ace told.

The phone begins to ring. OWEN picks it up, answering it.

CJ
Sir, it’s me. We’ve just been going through Nicky’s calls. She’s been in contact
with Edwin. Whilst we were listening to the call, the files were erased. She must be hacked into the mainframe.

OWEN
Thank you.

OWEN puts the phone down. He faces PADDY.

OWEN (continued)
Find Nicky. She’s somewhere in the building.

PADDY takes out a gun. He then runs out of the room. OWEN presses the emergency button. An alarm starts to blare throughout the entire building.

Cut to
INT – MI6 RECEPTION – AFTERNOON

Four guards come running out of the security room, behind the reception counter. They are all armed. Two guards stand by the lift, and the other two guards start to run up the stairs.

Cut to
INT - AN OFFICE - AFTERNOON

NICKY is sitting down at a computer. She is taking some files off the computer, and putting them on a USB stick. ACE comes inside the room. He sees that NICKY is sitting at the computer.

ACE
Nicky, what are you doing in here?

NICKY
Nothing. I was just typing up a report.

NICKY tries to minimise the screen, but ACE sees it.

ACE
That’s confidential information you’re going through. Higher than what you’re authorised to go through.

NICKY pulls out a gun. She aims it at ACE’S stomach. She gets to her
feet.

NICKY
Put your hands in the air.

ACE puts his hands in the air.

Cut to
INT – A CORRIDOR – EVENING

PADDY is running down a corridor. He has the gun in his hands. His phone begins to ring. He stops running. He takes his phone out of his right trouser pocket, and he answers it. It is CJ.

CJ
Paddy, I’m hacked into the CCTV feed. Nicky is on the fifth floor.

PADDY
Got it.

PADDY finishes the call. He puts the phone away. He continues to run down the corridor.

Cut to
INT - AN OFFICE - AFTERNOON

ACE and NICKY are still standing inside the room. ACE has his hands in the air, and NICKY has the gun aimed at his stomach.

ACE (shocked)
I can’t believe you’re doing this.

NICKY
I will shoot you if I have to.

NICKY quickly takes the USB stick out of the computer. She puts it inside her left trouser pocket. She faces ACE again.

ACE
Think about what you’re doing, Nicky. This isn’t like you.

NICKY (screaming)
Shut up!

NICKY pulls the trigger, shooting ACE in the stomach. He looks down at his stomach. He collapses to the floor. NICKY puts her gun away. She
runs out of the room afterwards.

Cut to
INT – OUTSIDE A CELL - AFTERNOON

A GUARD is standing outside the room, which JOSEPH and CRYSTAL are locked inside. He is armed.

CRYSTAL (calling)
Help me! My son’s collapsed!

The GUARD turns around. He unlocks the door.

Cut to
INT – A CELL – EVENING

The GUARD walks inside the room. He sees JOSEPH laying on the floor, unconscious. CRYSTAL is standing over the top of him. She faces him.

CRYSTAL (desperately)
Help him.

GUARD
What happened?

CRYSTAL
I don’t know. He just collapsed.

The GUARD gets down on his knees. JOSEPH suddenly opens his eyes.

GUARD
Wait.

CRYSTAL kicks the GUARD in the face. He falls to the floor, unconscious. JOSEPH takes the GUARD’S phone. He gets to his feet afterwards. CRYSTAL faces him.

CRYSTAL
Go. Get out of here.

JOSEPH
Come with me.

CRYSTAL
I’ll only slow you down. Just go and stop them.

JOSEPH
I’ll come back for you, Mum.

CRYSTAL (smiling)
I know you will.

JOSEPH smiles at her. He runs out of the room. He starts to run down the
corridor.

Cut to
INT - AN OFFICE - AFTERNOON

ACE is laying down on the floor, in a pool of blood. PADDY runs inside the room. He has his gun in his hands. He sees ACE laying down on the floor.

PADDY
Ace.

PADDY gets down on his knees. He holds onto ACE.

PADDY (continued)
I’m gonna get you some help.

ACE (murmuring)
No. It’s too late. Just stay with me. I. I don’t wanna be on my own.

PADDY
It’s okay. I’ve got you.

PADDY begins to cry. He keeps eye contact with ACE.

PADDY (tearfully)
I can’t believe it came to this. After all these years we’ve known each other. You’re my best friend, Ace.

ACE (murmuring)
You, too...

ACE dies. PADDY holds onto ACE’S body as he cries. PADDY gets to his feet a moment later. He runs out of the room.

Cut to
INT - EDWIN’S OFFICE - AFTERNOON

EDWIN and LINK are standing inside the office. EDWIN has a briefcase out in front of him. He also has the code in his hands. He opens the briefcase. There is a bomb inside it. He types the code into it. It activates. He closes the briefcase afterwards.

EDWIN
It’s time to visit the Prime Minister.

Cut to
INT - NICKY’S CAR - EVENING

NICKY is driving the car down the street. She has her phone in her hands. She starts to ring EDWIN. He answers the phone a moment later.

EDWIN
Is it done?

NICKY
Yes. But they’re onto me. I’m gonna try lose them. I’ll call you when I'm safe.

NICKY finishes the call. She throws her phone onto the front passenger’s seat. PADDY’S car suddenly hits the back of her car. She sees that PADDY is driving the car. She accelerates. PADDY continues to follow
her.

Cut to
EXT - A STREET - AFTERNOON

JOSEPH is walking down the street. He sees an ELDERLY WOMAN
opening her car door. He runs over to her.

JOSEPH
Excuse me.

The ELDERLY WOMAN faces him.

ELDERLY WOMAN (sweetly)
Hello, dear. How may I help you?

JOSEPH
I need to borrow your car.

Cut to
INT - THE ELDERLY WOMAN’S CAR - EVENING

The ELDERLY WOMAN is slowly driving down the street. She is also heading towards the River Thames. JOSEPH is sitting in the front passenger’s seat. They both have their seatbelts on. Some music is playing on the radio.

ELDERLY WOMAN
Are we on a Police chase?

JOSEPH
Yeah. You could call it that.

The traffic lights turn red, but the ELDERLY WOMAN continues to drive. NICKY suddenly drives her car into the side of the car. Her car rebounds and hits another car. JOSEPH faces the ELDERLY WOMAN.

JOSEPH
Are you okay?

ELDERLY WOMAN
I think something just hit us.

JOSEPH takes his seatbelt off.

Cut to
EXT – A STREET - EVENING

NICKY climbs out of her car. She starts to run away. PADDY is standing behind her. He loads his gun.

PADDY
Don’t move.

NICKY stands still. PADDY walks over to her. He grabs hold of her, pushing her up against the side of a car. He holds the gun to her head.

PADDY
Why did you do this, Nicky? We all trusted you. I trusted you. You killed him. You killed my best friend.

NICKY
What are you waiting for? Kill me.

PADDY holds his finger on the trigger. JOSEPH walks over to them. He watches PADDY as he holds his finger on the trigger.

JOSEPH
Paddy.

PADDY reluctantly lowers the gun.

PADDY
You’re gonna go to prison for the rest of your life for what you’ve done.

NICKY quickly runs back to her car. She gets inside it. She switches the engine on, then the car suddenly explodes. JOSEPH and PADDY look at the burning car.

PADDY
They never intended for her to make it.

PADDY turns to face JOSEPH.

PADDY (continued)
Come on. We have a party to crash.

JOSEPH and PADDY run over to his car. They climb inside it. PADDY switches the engine on, and he begins to drive down the street.