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.
Showing posts with label episode 2. Show all posts
Showing posts with label episode 2. Show all posts
Thursday, 19 November 2009
Wednesday, 18 November 2009
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?
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?
Tuesday, 17 November 2009
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.
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.
Monday, 16 November 2009
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.
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.
Sunday, 15 November 2009
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.
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.
Saturday, 14 November 2009
Episode 2 Scene 6 An Attack On The Prime Minister's Ball
Cut to
INT - ANDY’S OFFICE - EVENING
ANDY, late forties, is sitting at his desk. He has a hand mirror in his hands. He is looking at his hair. It is partially grey. He is wearing a suit. AGENT GREGSON, early forties, comes inside the room. He is also wearing a suit. He has an earpiece in his ear. ANDY continues to look in the mirror.
ANDY
I’m forty-three years old and I’m already going grey.
ANDY puts the mirror down on the desk. He faces AGENT GREGSON.
ANDY (continued)
Is there anything I can help you with?
AGENT GREGSON
It’s time for you to greet your guests, Sir.
ANDY
Very well.
ANDY gets to his feet. He puts his hands inside his trouser pockets. He then walks out of the room with AGENT GREGSON.
Cut to
INT - PADDY’S CAR - EVENING
PADDY is driving the car down the street. JOSEPH is sitting in the front passenger’s seat. PADDY has an earpiece in his ear. JOSEPH faces PADDY.
JOSEPH
I’m sorry for what happened to Ace.
PADDY
I’d known him for most of my life. The past fifteen years. We always did everything together.
Tears appear in PADDY’S eyes. He wipes them away.
PADDY (tearfully)
It’s just weird knowing that he’s not gonna be around anymore.
Cut to
INT - AN OFFICE - EVENING
SETH stands in the doorway of the room. He sees a GUARD place a cover over ACE’S body. He stands there, resting his head against the wall. CJ comes up behind him.
SETH (muttering)
This is all my fault.
CJ
You weren’t to know this was gonna happen.
SETH
I should’ve known about Nicky sooner. I could’ve saved him.
CJ
It was beyond your control. Don’t beat yourself up over it.
SETH turns to face CJ.
SETH
This has to stop. No one else needs to die.
SETH walks away.
Cut to
INT - THE BALL ROOM - EVENING
There are several guests standing inside the room, talking to each other. There are some waiters giving out the drink to the guests. There are also some uniformed men standing inside the room. CHARLIE and BILLY are standing inside the room. They are talking to each other. They each have a glass of champagne in their hands.
CHARLIE (muttering)
I hate being in the same room with a bunch of seedy politicians. It makes me feel sick.
BILLY
Look on the bright side. We’re going up in the world.
CHARLIE
I’d rather go back to delivering takeaways.
ANDY and AGENT GREGSON come inside the room. A WAITOR hands a glass of champagne to ANDY. ANDY taps the side of the glass. The room falls silent, and the guests turn to face him.
ANDY
I’d like to say a few words.
Cut to
EXT - THE ROOF OF THE BUILDING - EVENING
A SNIPER is standing on the roof of the building. A MAN comes walking up behind him. He has a walky-talky attached to the top of his trousers. He takes out a knife, stabbing the SNIPER in the neck. The SNIPER falls to the floor, dead. The MAN takes out his walky-talky, switching it on.
MAN
It’s good to go.
Several armed men enter the grounds. They head towards the entrance of the building. The MAN picks up the SNIPER’S sniper rifle.
Cut to
INT - THE BALL ROOM - EVENING
ANDY is still standing inside the room, making his speech. CHARLIE rolls his eyes.
ANDY
And on that note, I’d like to thank you all for being here tonight. I hope you all enjoy yourselves.
All of the guests start to clap at him. ANDY smiles. The doors to the room suddenly open. EDWIN, LINK, KAT, ENZIO and CRYSTAL enter the room, along with ten armed men. LINK has the briefcase in his hands. ENZIO is holding onto CRYSTAL. Her hands have been handcuffed. The TEN MEN shoot down all of the other men. All of the guests start to scream. EDWIN takes out a gun from his jacket, and he fires it into the air. The room falls silent.
EDWIN
That’s better.
EDWIN starts to look around the room.
EDWIN (continued)
Where’s the birthday boy?
EDWIN sees that ANDY is hiding on the floor, underneath a table. EDWIN smiles to himself.
EDWIN (smiling)
Do you care to join us?
AGENT GREGSON advances towards EDWIN.
AGENT GREGSON (angrily)
Get away from him!
EDWIN turns to face him. He shoots AGENT GREGSON in the stomach. He falls to the floor, dead. EDWIN turns back to face ANDY.
EDWIN
Fancy coming out now?
ANDY gets out from underneath the table.
Cut to
INT - PADDY’S CAR - EVENING
PADDY is driving the car down the street. He is driving in-between all of the different cars. They all bib their horns at him. JOSEPH holds onto the car door for support. PADDY’S phone rings. It connects to his earpiece.
PADDY (loudly)
Yeah.
OWEN
Paddy, it’s me. We’ve just received confirmation that Edwin has taken the Prime Minister hostage. I’m sending some back-up to assist you.
PADDY
Thanks.
The call disconnects. PADDY takes the earpiece out of his ear. He throws it into the back of the car. They approach the grounds of ANDY’S party. The gates are closed. PADDY drives through them. He drives onto the grounds. He stops the car.
Cut to
EXT – OUTSIDE PADDY’S CAR - EVENING
JOSEPH and PADDY climb out of the car. PADDY takes out his gun, shooting the MAN on the roof. He falls to the floor, dead. PADDY turns to face JOSEPH afterwards.
PADDY
Let’s go.
They both run towards the entrance of the building.
Cut to
INT - THE BALL ROOM - EVENING
EDWIN, LINK, KAT and ENZIO are standing inside the room. CRYSTAL, CHARLIE, BILLY and the other guests are standing in the centre of the room. ANDY is standing next to EDWIN. The MEN are still standing around the side of the room. EDWIN is facing the guests. JOSEPH and PADDY burst inside the room. PADDY has his gun in his hands.
PADDY
It’s the end of the road, Edwin.
A MAN comes up behind them. He puts a gun to the back of PADDY’S head. PADDY drops the gun on the floor. He puts his hands in the air. The MAN brings JOSEPH and PADDY into the crowd with the guests. EDWIN walks over to them.
EDWIN
It’s so good of you to drop in. Now do exactly what I say and you might make it out of here alive.
Fade Out
INT - ANDY’S OFFICE - EVENING
ANDY, late forties, is sitting at his desk. He has a hand mirror in his hands. He is looking at his hair. It is partially grey. He is wearing a suit. AGENT GREGSON, early forties, comes inside the room. He is also wearing a suit. He has an earpiece in his ear. ANDY continues to look in the mirror.
ANDY
I’m forty-three years old and I’m already going grey.
ANDY puts the mirror down on the desk. He faces AGENT GREGSON.
ANDY (continued)
Is there anything I can help you with?
AGENT GREGSON
It’s time for you to greet your guests, Sir.
ANDY
Very well.
ANDY gets to his feet. He puts his hands inside his trouser pockets. He then walks out of the room with AGENT GREGSON.
Cut to
INT - PADDY’S CAR - EVENING
PADDY is driving the car down the street. JOSEPH is sitting in the front passenger’s seat. PADDY has an earpiece in his ear. JOSEPH faces PADDY.
JOSEPH
I’m sorry for what happened to Ace.
PADDY
I’d known him for most of my life. The past fifteen years. We always did everything together.
Tears appear in PADDY’S eyes. He wipes them away.
PADDY (tearfully)
It’s just weird knowing that he’s not gonna be around anymore.
Cut to
INT - AN OFFICE - EVENING
SETH stands in the doorway of the room. He sees a GUARD place a cover over ACE’S body. He stands there, resting his head against the wall. CJ comes up behind him.
SETH (muttering)
This is all my fault.
CJ
You weren’t to know this was gonna happen.
SETH
I should’ve known about Nicky sooner. I could’ve saved him.
CJ
It was beyond your control. Don’t beat yourself up over it.
SETH turns to face CJ.
SETH
This has to stop. No one else needs to die.
SETH walks away.
Cut to
INT - THE BALL ROOM - EVENING
There are several guests standing inside the room, talking to each other. There are some waiters giving out the drink to the guests. There are also some uniformed men standing inside the room. CHARLIE and BILLY are standing inside the room. They are talking to each other. They each have a glass of champagne in their hands.
CHARLIE (muttering)
I hate being in the same room with a bunch of seedy politicians. It makes me feel sick.
BILLY
Look on the bright side. We’re going up in the world.
CHARLIE
I’d rather go back to delivering takeaways.
ANDY and AGENT GREGSON come inside the room. A WAITOR hands a glass of champagne to ANDY. ANDY taps the side of the glass. The room falls silent, and the guests turn to face him.
ANDY
I’d like to say a few words.
Cut to
EXT - THE ROOF OF THE BUILDING - EVENING
A SNIPER is standing on the roof of the building. A MAN comes walking up behind him. He has a walky-talky attached to the top of his trousers. He takes out a knife, stabbing the SNIPER in the neck. The SNIPER falls to the floor, dead. The MAN takes out his walky-talky, switching it on.
MAN
It’s good to go.
Several armed men enter the grounds. They head towards the entrance of the building. The MAN picks up the SNIPER’S sniper rifle.
Cut to
INT - THE BALL ROOM - EVENING
ANDY is still standing inside the room, making his speech. CHARLIE rolls his eyes.
ANDY
And on that note, I’d like to thank you all for being here tonight. I hope you all enjoy yourselves.
All of the guests start to clap at him. ANDY smiles. The doors to the room suddenly open. EDWIN, LINK, KAT, ENZIO and CRYSTAL enter the room, along with ten armed men. LINK has the briefcase in his hands. ENZIO is holding onto CRYSTAL. Her hands have been handcuffed. The TEN MEN shoot down all of the other men. All of the guests start to scream. EDWIN takes out a gun from his jacket, and he fires it into the air. The room falls silent.
EDWIN
That’s better.
EDWIN starts to look around the room.
EDWIN (continued)
Where’s the birthday boy?
EDWIN sees that ANDY is hiding on the floor, underneath a table. EDWIN smiles to himself.
EDWIN (smiling)
Do you care to join us?
AGENT GREGSON advances towards EDWIN.
AGENT GREGSON (angrily)
Get away from him!
EDWIN turns to face him. He shoots AGENT GREGSON in the stomach. He falls to the floor, dead. EDWIN turns back to face ANDY.
EDWIN
Fancy coming out now?
ANDY gets out from underneath the table.
Cut to
INT - PADDY’S CAR - EVENING
PADDY is driving the car down the street. He is driving in-between all of the different cars. They all bib their horns at him. JOSEPH holds onto the car door for support. PADDY’S phone rings. It connects to his earpiece.
PADDY (loudly)
Yeah.
OWEN
Paddy, it’s me. We’ve just received confirmation that Edwin has taken the Prime Minister hostage. I’m sending some back-up to assist you.
PADDY
Thanks.
The call disconnects. PADDY takes the earpiece out of his ear. He throws it into the back of the car. They approach the grounds of ANDY’S party. The gates are closed. PADDY drives through them. He drives onto the grounds. He stops the car.
Cut to
EXT – OUTSIDE PADDY’S CAR - EVENING
JOSEPH and PADDY climb out of the car. PADDY takes out his gun, shooting the MAN on the roof. He falls to the floor, dead. PADDY turns to face JOSEPH afterwards.
PADDY
Let’s go.
They both run towards the entrance of the building.
Cut to
INT - THE BALL ROOM - EVENING
EDWIN, LINK, KAT and ENZIO are standing inside the room. CRYSTAL, CHARLIE, BILLY and the other guests are standing in the centre of the room. ANDY is standing next to EDWIN. The MEN are still standing around the side of the room. EDWIN is facing the guests. JOSEPH and PADDY burst inside the room. PADDY has his gun in his hands.
PADDY
It’s the end of the road, Edwin.
A MAN comes up behind them. He puts a gun to the back of PADDY’S head. PADDY drops the gun on the floor. He puts his hands in the air. The MAN brings JOSEPH and PADDY into the crowd with the guests. EDWIN walks over to them.
EDWIN
It’s so good of you to drop in. Now do exactly what I say and you might make it out of here alive.
Fade Out
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