London Spy: The Complete Scripts
Page 15
FRONT OF HOUSE
Good evening, sir.
SCOTTIE
Good evening. One guest.
In synchronicity the two men turn to examine Danny.
He tries hard not to recoil under the stare. And does well. Yet they’re not convinced.
Scottie moves towards the next room.
As Danny passes the desk the younger man hands him a cream card with the rules neatly printed on it:
“No phones. No photographs. No electronic devices of any kind. Ties must be worn at all times.”
INT. MAYFAIR MEMBERS ONLY CLUB. LOUNGE. NIGHT
Danny and Scottie seated in deep leather chairs. A real fire burns. No artificial light.
Bookshelves hold leather volumes but we sense they haven’t been read.
The lounge is full. Danny’s the only person under the age of fifty. Everyone wears a suit. Saville Row. Nothing flashy. No gold watches. No bright colours.
Danny’s socks - exposed as he’s seated - are Christmas novelty. A ring of reindeer. He spots them and sits forward so that his trousers sink back over the reindeer.
Trying to ignore that he’s under scrutiny, Danny studies the menu. No prices. They talk in hushed tones.
DANNY
How do you know what anything costs?
SCOTTIE
Everything goes on account. It’s presumed each member can always pay his way. Money’s never mentioned. Seen. Or discussed.
Danny can’t help but glance about the room.
DANNY
There are more women in a gay club.
SCOTTIE
Women are not allowed.
DANNY
Is that legal?
SCOTTIE
How many women do you think apply?
An elegant man in his fifties enters, bespoke tailoring, nodding hellos to most in the lounge.
He spots Scottie and joins them. He’s James. Regal. Angular. Good looking. Groomed. Sensational waves of glossy grey hair. And full of apparent good cheer.
He shakes Scottie’s hand.
JAMES
Good to see you.
SCOTTIE
You look fantastic as always, James.
James smiles, placing a gracious hand on Scottie’s arm. Instantly the social order is established.
James turns to Danny. Offering his hand and silently assessing this young man. Unfavourably.
His good cheer takes a small but noticeable knock.
DANNY
Danny.
He regrets not using ‘Daniel’ but too late. James doesn’t even give his name.
They sit. But there’s already tension. James can sense something’s wrong, some rule broken, or about to be.
Scottie tries to maintain a breezy air, turning to Danny.
SCOTTIE
James and I have worked together for over thirty years.
JAMES
Not really together, Scottie.
Said lightly, but sour underneath.
SCOTTIE
No, I suppose not.
We sense James is much higher up, a great success, whereas Scottie has remained stuck in the middle.
SCOTTIE (CONT’D)
James, I’m afraid I need to ask a favour.
JAMES
A favour?
SCOTTIE
Afraid so.
Another rule broken. James’s mood darkens again.
JAMES
Scottie, this is unlike you.
SCOTTIE
The situation is exceptional.
James weighs up the situation carefully.
JAMES
Very well.
SCOTTIE
What can you tell me about the murder of Alistair Turner?
As outrageous a comment as could be imagined. Even Danny is taken by surprise.
James is appalled. And furious. Although his expression has barely changed. He leans forward. In a low voice:
JAMES
Have you lost your mind?
Silence.
James stands, about to leave.
SCOTTIE
I’m asking you to be indiscreet. The quid pro quo is that I will not be.
James stops, looking down at Scottie. Weighing up all the secrets that he contains. He’s not sure.
James sits. Eyes on Danny. Then Scottie.
JAMES
You’ve been hanging around too many street corners, old friend. Your acquaintances are beginning to rub off on you.
SCOTTIE
Oh no. I learnt these tricks from the top.
JAMES
You’re sure you want to continue down this road?
SCOTTIE
Quite sure.
JAMES
That’s an awful shame.
James carefully calculates.
JAMES (CONT’D)
I’ll tell you a joke. How about that?
SCOTTIE
It would depends on how funny I find it.
JAMES
It’s hysterical.
Said without a trace of humour.
Scottie nods. Deal agreed.
Danny can’t follow the logic of this peculiar exchange.
JAMES (CONT’D)
An Englishman, a Chinaman, a Frenchman, an American, a Russian, an Israeli and a Saudi walk into a bar.
(beat)
And they all agree.
That was the punch-line.
Danny’s baffled. But Scottie acts as if he’s heard the most disturbing piece of information. Disconcerted, he nods, solemnly. Transaction concluded.
James glances at Danny.
JAMES (CONT’D)
You’d better explain it to your boy at a later stage.
Danny should be offended but isn’t. He’s watched this whole exchange as though he were a visitor to a zoo.
James stands.
JAMES (CONT’D)
Like I said, old friend, an awful shame.
James leaves.
And now everyone in the lounge is staring at them. As if they can sense that the club rules have been shattered.
SCOTTIE
Time to go.
INT. MAYFAIR MEMBERS ONLY CLUB. RECEPTION. NIGHT
As Scottie and Danny leave, the older staff member gently intercepts Scottie, remaining polite.
FRONT OF HOUSE
If I could ask you to settle up, Sir?
Scottie takes a beat.
SCOTTIE
Of course.
He heads to the desk.
EXT. MAYFAIR MEMBERS ONLY CLUB. NIGHT
Danny and Scottie stand outside.
DANNY
What did it mean?
SCOTTIE
That my membership has been cancelled with immediate effect. A pity: they did a marvellous eggs Benedict.
DANNY
The joke, Scottie, the joke.
SCOTTIE
I thought it was perfectly clear.
DANNY
No.
SCOTTIE
Substitute the nationality for the security agency. British MI6. The Chinese Ministry for State Security. Israeli Mossad. American CIA. Russian FSB. And Saudi GIP.
DANNY
Okay?
SCOTTIE
The punch line was that they all agree.
(beat)
Danny, they’ve never agreed on anything. Ever. Until now, it seems. Whatever Alex discovered - whatever it was, whatever it is - no one wants in the open. We’re not up against one intelligence agency. We’re up against them all. What does it mean? It means we’re quite alone.
And the two of them are alone - the only people standing on this sleepy exclusive street.
EXT. VAUXHALL. NIGHT
Danny walking in his expensive suit. Casual party crowd pass him by. Self conscious, he takes his tie off.
Gradually he becomes aware that an expensive car is trailing him. Or is he imagining it? Not sure.
He turns a corner.
EXT. VAUXHALL. DANNY’S APARTMENT BUILDING. NIGHT
The expensive car following also turns the corner.
Danny checks, and stops, alarmed.
The car accelerates, straight towards him.
Danny pulls back as if expecting the car to mount the pavement and crash into him.
But the car parks beside him. The back door opens.
Danny steps forward. He sees Rich in the back seat. There’s a no-nonsense driver in the front.
RICH
Get in.
Danny is unsure.
RICH (CONT’D)
Get in the fucking car.
Danny obeys.
INT/EXT. RICH’S CAR / VAUXHALL. NIGHT
As soon as Danny shuts the door Rich’s driver pulls out, accelerating at great speed. Running a red light.
A radical contrast to his previous manner, Rich seems rattled and on edge.
He eyes Danny’s natty suit.
RICH
Found yourself a rich Daddy, my fun-loving-friend?
Studying Danny’s expression.
RICH (CONT’D)
Or is it fun no more, Danny? Have you fallen out of love? With fun?
(assessing)
You have.
(as if betrayed)
Some call that growing up. I call it growing old. Once you let fun go you never get it back. And over and above everything - or anybody - I choose fun.
A declaration about fun spoken with darkness.
Rich gestures to the back seat pocket.
RICH (CONT’D)
For you.
Danny reaches in. He pulls out --
A large padded envelope. Sealed. He takes it. And is about to open it.
RICH (CONT’D)
Not here.
DANNY
What is it?
RICH
It’s ‘the impossible’.
DANNY
Why did you change your mind?
RICH
I didn’t.
At great speed the driver pulls into a service station.
DANNY
I don’t understand.
RICH
I’m sure you don’t.
The driver parks.
RICH (CONT’D)
Get out.
Danny is confused. He lingers.
RICH (CONT’D)
Get out the fucking car.
Just as Danny is about to get out.
RICH (CONT’D)
Oh, Danny?
Danny looks back.
RICH (CONT’D)
Have fun.
Rich’s face is knowing and mean.
Danny gets out.
EXT. VAUXHALL. SERVICE STATION. NIGHT
Danny under the alien service station lights.
Rich’s car accelerates away.
Danny looks at the padded envelope in his hand.
He spots the service station toilets.
INT. VAUXHALL. SERVICE STATION STORE. RESTROOM. NIGHT
Danny locks the door.
The toilet should be horrendous, concrete, grim.
He stands in front of the mirror. Envelope resting on the sink. He uses his key to rip the tape.
He reaches inside --
A cheap mobile phone.
The keypad has been doctored so none of the buttons can be used apart from the ‘accept call’ button.
It’s on. Fully charged.
Then - shrill and startling - the telephone rings. No caller ID. Danny stares at it.
The phone continues to ring.
Danny presses accept.
END OF EPISODE
EPISODE FOUR:
“I KNOW”
EXT. OMINOUS HOTEL. LONDON. NIGHT
Danny stands outside a rundown and ominous hotel.
He holds the doctored phone from the previous episode to his ear, hearing instructions from a scrambled voice:
SCRAMBLED VOICE (V.O.)
Room 116.
INT. OMINOUS HOTEL. CORRIDOR. NIGHT
Room 116 - numbers hang loose on the door.
Danny has the key in hand, phone to ear. He checks the bleak-empty-corridor. He unlocks the door --
INT. OMINOUS HOTEL. ROOM 116. NIGHT
Danny tentatively enters the dark hallway. Lights reveal a squalid room. Fraying carpet. Stained walls.
SCRAMBLED VOICE (V.O.)
The bathroom.
Danny turns, opening the door to --
INT. OMINOUS HOTEL. ROOM 116. BATHROOM. NIGHT
Fluorescent lights flicker. A plastic floor.
The bathtub is filled to the brim - water steaming, recently filled, implying near-by presence.
SCRAMBLED VOICE (V.O.)
Get in.
Danny hesitates, unsure of the instructions.
SCRAMBLED VOICE (V.O.)
Clothes on.
Danny realizes he’s being watched. His eyes glance around, unable to find the concealed camera.
INT. OMINOUS HOTEL. ROOM 116. BATHROOM. NIGHT
Danny steps into the bathtub, fully clothed, including shoes, submerging up to his neck.
The phone remains by his ear, above the water.
INT. OMINOUS HOTEL. ROOM 116. BEDROOM. NIGHT
Dripping wet, fully clothed, Danny stands by the bed. Laid out before him are a new set of expensive clothes.
An unusual & immaculate suit. Mauve, perhaps.
INT. OMINOUS HOTEL. ROOM 116. BEDROOM. NIGHT
Danny dressed in new clothes. Shirt. Tie. Suit. Shoes. They fit perfectly. He looks terrific. And troubled.
He picks up the phone --
SCRAMBLED VOICE (V.O.)
Outside.
EXT. OMINOUS HOTEL. STREET. NIGHT
Downstairs a black cab pulls up in front of Danny.
The cab seems ordinary.
INT/EXT. BLACK CAB. LONDON. NIGHT
Danny in the back, phone to his ear, apprehensive, waiting to see where in London he’s being taken.
His eyes glance about the cab’s interior.
Oddities start to make the cab feel less ordinary. No door handles. No way out. The windows are plexiglass. The screen between driver and passenger is reinforced.
This is no ordinary cab.
The driver glances at Danny in the rear view mirror. Mean eyes: all we see of his face.
INT/EXT. BLACK CAB. CHELSEA. NIGHT
The cab parks in a sleepy and exclusive residential area.
Danny waits. One last glance from mean-eyes-driver. The door unlocks. Danny gets out.
EXT. CHELSEA. NIGHT
The cab drives off.
Danny knows this area well --
The street where Alex lived. The house where he died.
A police cordon remains in place. A police officer stands guard outside.
The street itself is eerie-quiet. No one around. Old fashioned street lamps fuzz a faint orange glow.
SCRAMBLED VOICE (V.O.)
Walk.
Right past the house.
Uneasy, Danny considers refusing.
SCRAMBLED VOICE (V.O.)
Walk.
Logically, Danny must be under surveillance. He tries to find them. Eyes search. He can’t see anyone.
Reluctantly, Danny starts to walk towards Alex’s house. The first time he’s been back.
Danny reaches the house, of such significance and pain. The officer regards him with suspicion.
No instructions from the phone. Not told to stop. He continues walking.
He reaches the end of the street.
EXT. FASHIONABLE RESTAURANT. NIGHT
To the right, around the corner from Alex’s house, is the restaurant where Danny and Alex first ate breakfast.
It’s now in dinner mode, with dimmed lighting. Not part of a high street, singular, like Hopper’s ‘Nighthawks’.
SCRAMBLED VOICE (V.O.)
A reservation. For two.
The phone dies. Danny regards it, lifeless in his hand.
Danny stares at the restaurant --
FLASH TO:
EXT. FASHIONABLE RESTAURANT. MORNING (PAST)
A bright sunny morning, Danny and Alex on their first date, walking towards the restaurant.
Their innocent early interaction.
Alex holds the door open for Danny as he enters --
FLASH BACK TO:
INT. FASHIONABLE RESTAURANT. NIGHT (PRESENT)
Danny enters alone - his state of mind radically changed from that first date. Guarded & unsure.
He surveys the scene. Tables are full: a young & wealthy crowd. A few glance at him, at his attire, they approve.
Danny wonders if this is real or staged, a trap. A hostess appears and smiles. But Danny’s sure of nothing.
FLASH TO:
INT. FASHIONABLE RESTAURANT. MORNING (PAST)
The restaurant is busy. A few glance at Danny, at his clothes. And they do not approve. Danny’s self-conscious.
Danny and Alex are guided to a table in the far corner --
FLASH BACK TO:
INT. FASHIONABLE RESTAURANT. NIGHT (PRESENT)
Danny has been shown to the same table in the far corner. He looks at the hostess, struck by this choice.
She appears oblivious of any significance.
Danny sits down, looking at the empty space opposite --
FLASH TO:
INT. FASHIONABLE RESTAURANT. MORNING (PAST)
Alex seated opposite Danny, at the exact same table, on their first date. Danny eyes the expensive prices listed on the menu. Establish how expensive it is.
Alex has observed his concerns, about to speak --
FLASH BACK TO:
INT. FASHIONABLE RESTAURANT. NIGHT (PRESENT)
Danny seated, as he was in the past, thoughts in past.
His doctored phone rests on the table.
An identical phone, doctored in an identical fashion, is placed beside it.