EXT. RUINED INDUSTRIAL WAREHOUSE. DAY
The conspirators are getting ready to leave.
MARCUS
I take it you have some sort of ‘plan’?
SCOTTIE
We must prove it works.
Marcus’s sceptical. But Scottie is such an authoritative presence he’s swayed. With reluctance, Marcus nods.
THIS SCENE IS CUT
INT/EXT. SCOTTIE’S CAR / LONDON. DAWN
Scottie driving. Danny in the passenger seat.
DANNY
You don’t have a plan, do you?
SCOTTIE
No. But he needed to believe I did. And we need him.
(beat)
You see? Proof that the orderly functioning of society depends on our ability to lie.
These aren’t secrets we can peddle to our nation’s enemies. Given the choice of ‘no lies’, or ‘lies’, every organization, every person of power - without exception - will choose lies.
DANNY
Maybe Alex imagined a better way of doing things.
Scottie considers Danny for a moment. He’s an instinctive idealist. A romantic.
SCOTTIE
I wonder when he began work on this project.
The subtext of the observation slips Danny by.
DANNY
Why does that matter?
SCOTTIE
(musing aloud)
Maybe Alex was ashamed of the lies he’d told you. Ashamed that your relationship was built on lies. Maybe he even thought, on some level, he was making amends.
DANNY
To who?
SCOTTIE
To you.
Thoughtful silence.
Danny processing the notion. Scottie suddenly realizes how enormous a revelation it is. Too late.
Tense silence.
SCOTTIE (CONT’D)
Danny --
Danny abruptly, in a kind of haze, opens the car door, about to get out, even though the car is still moving.
Scottie slams on the brakes just as --
EXT. SCOTTIE’S CAR / LONDON. DAWN
Danny gets out, unsteady on his feet. We’re on the fringes of the decaying former industrial area.
Danny in great turmoil.
Scottie steps out, apologetic.
DANNY
I’m to blame?
SCOTTIE
Danny, I’m sorry --
DANNY
I’m to blame?
Danny refuses to let him back away from the idea.
SCOTTIE
I never said to blame.
Danny rephrases.
DANNY
He did it for me?
Scottie can’t deny it.
SCOTTIE
It’s possible.
DANNY
I didn’t ask for it.
Danny looks at the cylinder, now attached to a piece of string, around his neck. The intricate number dials, code - 0000001. Proof of Love.
SCOTTIE
He knew you were going to find out that he’d lied about much of his life. He must have worried that you’d end up hating him. He must have worried about that moment every day. Will he still love me, if he knew? Could he still love me, if he knew? Or would you re-examine your love story - Alex’s only love story - and decide it was, in the end, nothing but a lie.
This notion causes great sadness in Danny.
DANNY
He was never sure?
SCOTTIE
How could he be?
DANNY
I wish, I could’ve told him... That the lies, the mistakes - that none of it mattered. That I loved him, just the same. That I love him. Still. Now. Knowing it all. I wish he could’ve heard me say it.
SCOTTIE
Yes.
DANNY
He’ll never know.
SCOTTIE
No.
FLASH TO:
INT. DANNY’S APARTMENT. BEDROOM. NIGHT (PAST)
In bed, Danny on his side regarding Alex, who is on his back, staring at the ceiling.
It’s clear that Alex has a great deal on his mind.
DANNY
What are you thinking?
Alex breaks from his thoughts, facing Danny.
They are as close as they can be without actually touching. The thinnest of gaps between them.
For a second it looks like Alex might actually answer the question seriously, unravelling his innermost thoughts.
And close the gap.
ALEX
Say it again.
Danny smiles, puzzled. Alex watches him carefully --
DANNY
What are you thinking?
Alex understands the question as a cue for attention. He’s disappointed. But covers. Close and yet apart.
Alex kisses Danny.
The moment shouldn’t feel heartwarming or sentimental. It should play like a missed opportunity.
ALEX
Nothing.
But Danny, unaware, is happy & glibly content. He has what he wants - attention.
FLASH BACK TO:
INT. SCOTTIE’S HOUSE. GUEST BEDROOM. NIGHT
Danny perched on the edge of the bed, unable to sleep.
Troubled, he gets up.
INT. SCOTTIE’S HOUSE. HALLWAY & BEDROOM. NIGHT
Danny approaches Scottie’s bedroom. Scottie sitting on the edge of the bed.
Danny about to enter --
When he spies that Scottie’s eyes are closed. His hands clasped. He’s praying.
Something Danny has never seen Scottie do before. He decides not to disturb him and backtracks.
However, Danny rethinks, and returns to the doorway, standing there, quietly, until Scottie notices him.
DANNY
This is going to sound...
(struggles)
But it occurred to me that I’ve never said it aloud, before...
(beat)
I love you very much.
Scottie remains silent.
A profound sense of calm seems to come over both of them.
TO BLACK:
The harsh, rhythmic sound of steel capped footsteps on a stone floor.
Clip-Clip-Clip.
FADE IN ON:
INT. POLICE STATION. CORRIDOR. DAY
Danny walking down a bleak-bright-white corridor.
Unseen, behind him, the sound of steel capped shoes clipping on the stone floor.
Up ahead, a door opens, harsh white light --
INT. POLICE STATION. INTERROGATION ROOM. DAY
The strange abattoir room.
Danny seated at a table, braced for the worst. Police officers stand, in the corner, sentries.
Cameras on him.
Detective Taylor sits opposite.
DETECTIVE TAYLOR
You’re not going to be charged.
Danny can’t believe it.
Silence.
Danny remains in disbelief.
DANNY
That’s it?
DETECTIVE TAYLOR
You’re free to go.
Danny doesn’t move. Looking from face to face. He doesn’t trust this news. Expects a trap. A trick.
DANNY
You brought me in, like this, to say that?
Detective Taylor reacts. It’s very unusual. And she’s been told to do it, but doesn’t understand why.
DANNY (CONT’D)
Will anyone be charged?
Silence. Which Danny understands as a “no”.
DETECTIVE TAYLOR
Danny, for you, this is over.
Danny still hasn’t moved.
DANNY
(softly)
This isn’t over.
(to the room)
This isn’t over.
INT. THE BALLROOM. GAY CLUB. STAGE. NIGHT
Dazzlingly bright spotlight on stage.
A typical female magician assistant type; archetypal femininity, skimpy glittery dress, long blonde hair, etc.
Except there is no male magician
on stage, no one she’s assisting. She’s performing alone.
The actual magic should exhibit genuine wonder and verve.
As she performs she removes her wig, revealing cropped black hair. Transforming herself in conjunction with her magic show: she is part of the magic.
The accompanying music is a relentless tribal drumming performed by three women at the back of the stage.
INT. THE BALLROOM GAY CLUB. BOOTH. NIGHT
In one of the shadowy booths is Danny, alone, watching.
He checks his watch and heads out.
EXT. BALLROOM GAY CLUB. FIRE ESCAPE. NIGHT
Danny on the fire escape in the secretive darkness. Lashing rain. He’s indifferent to it.
The relentless drumming from the stage show plays over the sequence.
Danny has a view over the seedy entrance to the club.
Claire arrives, hurries in through the main entrance, unaware of Danny’s presence.
Danny observes. Doesn’t move.
INT. THE BALLROOM GAY CLUB. STAGE. NIGHT
The magician is now in a state of androgyny. Out of the glittery dress. She’s wearing white boxers and a white vest. Her padded bra has been removed.
As a woman, she’s thin and flat chested and incredibly striking. And the drumming continues.
EXT. BALLROOM GAY CLUB. FIRE ESCAPE. NIGHT
Danny on the fire escape, in the darkness, watching. This time it’s Marcus who arrives.
Drumming continues.
Wrapped up against the cold, he hurries into the club.
Danny is pleased. He returns inside, through the fire exit door, which had been propped open with a brick.
INT. BALLROOM GAY CLUB. STAGE. NIGHT
The female magician is transforming herself into black tie attire. A typical male magician’s outfit.
From assistant to magician.
She’s in the middle of performing an elaborate show stopping trick. Her finale is building.
The drumming continues.
INT. BALLROOM GAY CLUB. BOOTH. NIGHT
Danny joins Marcus and Claire at the booth.
Marcus, drinking whiskey, watches the magician with a surprising degree of interest rather than disdain.
Danny looks at Marcus.
Marcus gives Danny a small nod.
Claire smiles. A buzz of anticipation.
They wait for the fourth member of their team.
Danny looks at the empty space where Scottie should be.
INT. THE BALLROOM GAY CLUB. NEAR STAGE. NIGHT
Magician in the background, Danny on the phone, walking away from the booth, towards a quieter corner.
DANNY (ON PHONE)
Scottie?
INT/EXT. BLACK CAB / BACK STREETS OF LONDON. NIGHT
Scottie in the back of a black cab, on the phone to Danny. But his eyes are very much focused on the driver.
Scottie is afraid.
SCOTTIE (ON PHONE)
Danny --
His eyes assess the cab --
No door handles. No way out. The windows are plexiglass. The screen between driver and passenger is reinforced.
This is no ordinary cab.
It’s the cab that took Danny to the restaurant in the opening of this episode.
The driver glances at Scottie in the rear view mirror. Mean eyes. All we ever see of this man’s face.
Scottie’s eyes meet his in the mirror.
They both know the truth about each other.
DANNY (V.O.)
Scottie?
The cab is picking up speed: faster and faster.
In contrast, Scottie becomes quite calm.
He sits back, looking out at the blurring night view of London, no longer concentrating on the driver.
SCOTTIE (ON PHONE)
Danny...
Scottie accepts it’s over.
SCOTTIE (ON PHONE) (CONT’D)
There will be a note.
INT. BALLROOM GAY CLUB. STAGE. NIGHT
The magician’s imaginative act is concluding.
She’s now fully transformed into a ‘male’ magician. With black top hat and black tie.
Unrecognizable from the ‘assistant’ who opened the show.
Drumming getting faster and faster.
INT. SCOTTIE’S HOUSE. LIVING ROOM. NIGHT
The drumming continues over
Midnight. Darkness in the house.
Danny runs into the room. He sees the pills on the table.
INT. SCOTTIE’S HOUSE. HALLWAY. NIGHT
Sound of drumming continues.
Danny cries out for Scottie but we only hear drumming.
EXT. SCOTTIE’S HOUSE. FRONT GARDEN. NIGHT
Drumming continues.
Danny running towards the heath.
EXT. HAMPSTEAD. NIGHT
Drumming continues.
Danny running.
EXT. HAMPSTEAD HEATH. NIGHT
Danny running along an established path, he turns off, onto the grass, heading towards the trees.
EXT. HAMPSTEAD HEATH. CRUISING AREA. NIGHT
Danny passes through bushes and trees.
Lingering in the darkness a lonely male figure emerges, soliciting. Danny shakes his head, abrupt, dismissive.
Stung by the manner of the rejection, the figure retreats into the shadows.
Danny pauses, emotional, before continuing his search.
INT. BALLROOM GAY CLUB. FIRE ESCAPE. NIGHT
Drumming coming to a climax.
The magician steps into a box.
The doors close.
EXT. HAMPSTEAD HEATH. CRUISING AREA. NIGHT
Up ahead, Danny spots a coat folded neatly on the ground. Danny comes to a stop.
Scottie’s jacket. Beside his exquisite shoes.
Danny’s fingers are tight around the jacket, understanding exactly what the discovery means.
With effort, Danny turns his eyes upwards to see --
In the darkness, a shadow, a form - a man, hanging from one of the low branches of a tree.
An abrupt burst of energy, Danny hurries forward, grabbing Scottie’s legs, trying to take the strain off his neck, as if it were possible to save him.
It’s too late, but Danny refuses to accept that fact.
He climbs the tree, reaching the noose, scrambling at the knot. He unties it, lowering Scottie’s body.
Danny climbs down.
He feels Scottie’s pulse. The action is futile. But Danny behaves as if a rescue were possible.
He tries to breathe life into Scottie - with paramedic zeal - until the third attempt and reality sinks in.
The exact same action becomes distraught. A kiss of extraordinary grief.
His friend is dead.
Danny is strangely calm, suffering from a surfeit of sadness, an emotional shutdown, resting his head on Scottie’s chest, as though listening to his heart.
The sound of drumming stops.
INT. BALLROOM GAY CLUB. FIRE ESCAPE. NIGHT
On stage the magic act comes to an end.
The box opens --
The stage is empty.
END OF EPISODE
EPISODE FIVE:
“IF THIS IS A LIE”
INT. CHURCH. DAY
Scottie’s church. Scottie’s funeral.
Danny walking towards the lectern --
EXT. HAMPSTEAD HEATH. NIGHT (PAST)
Danny running as fast as he can towards desolate trees.
INT. CHURCH. DAY (PRESENT)
Danny stands at the lectern.
Before him many empty pews. In the front row are Claire, Sara & Pavel. From the ballroom club an older barman.
Two elderly women: regular church attendees. Behind them:
Three men in their sixties. Civil service aura. Dressed like Scottie. Exquisite English tailoring --
INT. HAMPSTEAD HEATH. WILDERNESS. NIGHT (PAST)
Scottie’s exquisite wool jacket neatly folded on the ground. Beside his leather shoes.
Red faced, out of
breath, Danny drops to his knees, grabbing the jacket, hands tight on the material --
INT. CHURCH. DAY (PRESENT)
Danny’s fingers tight on index cards densely packed with clumsy handwriting.
A great deal of labour and toil.
EXT. HAMPSTEAD HEATH. WILDERNESS. NIGHT (PAST)
Sparse, delicate, effortless fountain pen handwriting, on elegant cream letter paper - addressed to Danny.
A suicide note.
As if scolded Danny lets it fall.
INT. CHURCH. DAY (PRESENT)
Under Danny’s fingers the ink on the index cards is starting to smudge. He’s unable to read his first line. Instead, he looks up, at one of the empty pews --
INT. CHURCH. DAY (PAST)
Same church, same pew.
The moment from episode 4. Scottie and Danny seated. Scottie offers Danny his hand. Danny accepts.
INT. CHURCH. DAY (PRESENT)
Danny’s eyes on the empty pew --
EXT. HAMPSTEAD HEATH. WILDERNESS. NIGHT (PAST)
Danny’s eyes on the ‘sadness’ tree.
The shadowy form of a man hanging from a low branch.
INT. CHURCH. DAY (PRESENT)
Danny at the lectern.
And still he can’t speak.
We see Sara worrying in the front row, looking to Pavel, unsure whether she should intervene.
Danny’s thoughts revert to the past --
EXT. HAMPSTEAD HEATH. WILDERNESS. NIGHT (PAST)
Danny’s face pressed against the gnarled bark as though listening for a heartbeat.
INT. CHURCH. DAY (PRESENT)
Danny pulls his thoughts back to the present. He ignores his smudged index cards. Pushing them aside.
Words that follow are more like interior dialogue, nudged out from his head, rather than regular speech.
DANNY
I have a question.
(beat)
How do we live without the people we love?
(eyes on empty pew)
I can hear his reply --
(Danny listens)
“We must figure this question out for ourselves.” He’s right. He was always right. Except, my friend, I don’t want to know.
London Spy: The Complete Scripts Page 19