NEMESIS Episode 1 "Mort" 3.2.

12 GOLDENROD AMENDMENTS 1

INT. TANGIER, MOROCCO - HOTEL ROOM - NIGHT 1 - 23.17

Through the window -- the Mediterranean sea, the amber lights of the ancient city. Traffic noise drifts from the street far below as CAMERA DRIFTS through the room. Dark, expensive. Suddenly -- A DOOR is pushed open -- a shaft of yellow light from the hall -- TWO BODIES -- LOVERS -- PUSH INSIDE. The MAN KISSES the WOMAN, fumbling the door closed. Hurriedly peeling off an evening dress, NAKED UNDERNEATH. She opens his shirt, lowers his trousers. Still KISSING -- quickly -Her legs wrap around his waist. Bodies thrusting against the wall. He lifts her head by her hair. Wants her watching him. His eyes dark, powerful. He sees a certain reserve in hers, despite the passion. An inner core hed like to break through, but cant. He thrusts harder, aggressive -- her eyes flutter -- breath trembling -- exciting him more -- thrusting faster as -YELLOW LIGHT suddenly swings through frame, taking us to -Stuttering, broken IMAGES: WATER rippling -- HEADLIGHTS sweep frame -- a SCARECROWs FACE -- a dark SPIRAL -- TURN SIGNAL blinking -- distant TRIANGLES -- BLOOD POOLS on asphalt -YELLOW LIGHT swings through frame, left to right, taking us -2 INT. TANGIER - HOTEL ROOM - NIGHT 1 - 23.46 2

The Woman in bed, naked. Watching the Man remove a MAGNETIC KEY CARD from his trouser pocket. Red LED numbers punched in a WALL SAFE. Locked shut. He turns back. Her eyes are closed. YELLOW LIGHT swings back through frame, right to left -An unfinished SCARECROW, in a garden outside a little STONE COTTAGE -- a MOTHER and 10-year-old GIRL build his face -WATER rippling -- skipping stones across a reservoir -Mother and Girl sit on the bank, legs dangling -Mother and Girl walk a footpath to the cottage, CAR parked beyond. Over a stone engraved with the surname MORTON -Inside the cottage, a fire crackling -- the Girl in a night dress, curled in her mothers arms -- the Mother strokes her hair. Reading from a WORN BOOK -- her voice soft, patient -YELLOW LIGHT, left to right --

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INT. TANGIER - HOTEL ROOM - DAY 2 - 07.23 The Woman steps out of the shower. Dries herself, then pauses. Touches her abdomen, her thoughts far away. The Man comes up behind her, nuzzles her neck. She regards herself in the mirror. There, but not there. YELLOW LIGHT, right to left, taking us back to --

-- The Girl seated in a car, idling outside the cottage. The Mother slams the boot shut --- Night. A TURN SIGNAL blinking. The Mother pulls the car over at a DESERTED PETROL STATION --- The Mother fills the tank. Seeing headlights sweep across. A BLACK CAR pulls to a stop. Exhaust spewing. Silhouettes of TWO MEN inside. The Mothers face, growing worried -YELLOW LIGHT swings through frame, taking us to -4 INT. TOWN CAR - MOVING - DAY 2 - 09.06 Mud-coloured streets drift by. The Woman stares out the window, caked by dust. Well come to know her as SAM. MANS VOICE (in French) You OK? BERNARD FAROUX, 40s, tailored clothes, puts a hand on hers. Hes the Man from the hotel, seated beside her. A BODYGUARD at the wheel. SAM (in French) Just thinking. FAROUX About what? Sam smiles, enigmatic. Squeezes his hand. 5 EXT. TANGIER - DAY 2 - 09.09 The town car wends through the citys twisting, ancient streets. Pulling to a stop at -A DESERTED PLAZA Gated. Bordered by tall, RUNDOWN BUILDINGS on either side. Broken glass and shadows. CUT TO: 5 4

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 3

INT. MERCEDES TOWN CAR - DAY 2 - 09.10 Sam turns to Faroux. SAM Why are we stopping? FAROUX I have a little business before the airport. The Bodyguard opens Farouxs door. FAROUX (CONTD) (to Sam) You OK waiting here? She glances outside. Manages a tight nod. SAM Sure. Her discomfort poorly masked. He smiles, offers his hand. FAROUX Come on then. Sam, relieved, climbs out. Clutching a SMALL PURSE. CUT TO:

EXT. PLAZA - DAY 2 - 09.11 Faroux and Sam cross the plaza, trailed by the Bodyguard. Heading toward a deserted THEATRE. STONE NYMPHS look down from the roofs edge high above. Their faces cracked, limbs broken. CUT TO:

INT. THEATRE - DAY 2 - 09.12 The Bodyguard stands watch outside. Faroux and Sam enter a large, dilapidated lobby. Bare bulbs strung from the ceiling illuminate GUARDS in plain clothes. A CHIEF GUARD approaches, whispers with Faroux, leading him and Sam somewhere. They pass a DARK-HAIRED GUARD. Watching Sam from a platform above. She feels his eyes upon her. As Chief Guard takes Sam and Faroux downstairs -CUT TO:

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 4

INT. THEATRE - BASEMENT - DAY 2 - 09.13 The stairs lead to a landing. Faroux turns to Sam. FAROUX Wait here. She watches as Faroux and Chief Guard descend to a METAL DOOR. Faroux pulls out the MAGNETIC KEY CARD we saw before. The DOOR clicks open. Sam just able to glimpse -A BESPECTACLED MAN, 40s, bound to a chair inside a ROOM. Hes soaked in sweat, head slumped, shirt streaked with BLOOD. Chief Guard closes the door behind them. Sam frowns. TIME CUT TO: Sam waits on a bench, looking troubled. Rising as Faroux returns with Chief Guard, smiles reassuringly -FAROUX (CONTD) Told you it wouldnt take long. He motions her forward. We see shes left her SMALL PURSE on the bench. CUT TO:

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EXT. PLAZA / EXT. ROOFTOP - DAY 2 - 09.24 INTERCUT: Faroux and Sam exit the building, trailed by Bodyguards. Seen from a high angle -- through a SNIPERS HEADS-UP DISPLAY. ANGLE - THE SNIPER 30s, African-American, cap askance. His holographic scope fixed on Sam and Faroux. Which one is his target? RESUME - SAM AND FAROUX Stopping at the town car. Faroux holding the door open for Sam. Who notices something out of the corner of her eye. ANGLE - SNIPERS HEADS-UP DISPLAY A RED LASER DOT settles on the back of Farouxs head. Finger on the trigger. When -CLOSE - SAM

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NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 5

Sees the red dot on the back of Farouxs head. Quickly, she PUSHES FAROUX out of the way. Just as -CLOSE - THE SNIPERS HAND A TATTOO of a crucifix. As he squeezes the trigger -A near-silent PFFFHT! BLOOD EXPLODES FROM SAMS HEAD. She drops to the pavement, DEAD. Faroux, splattered with gore, stares IN SHOCK. Shes just saved his life -Bodyguards hustle Faroux inside his town car -- TYRES SQUEALING as it TEARS AWAY, FOLLOWED BY THE OTHER CAR. ANGLE - THE ROOFTOP Sniper packs his rifle quickly, expertly. POV - THROUGH THE TOWN CARS REAR WINDSCREEN Faroux stares, numb. The image of his dead lover on the pavement, face still splattered with her blood. CUT TO: 11 EXT. TANGIER STREET - DAY 2 - 09.25 11

AN AMBULANCE SCREAMS THROUGH CITY STREETS. Passing the town car, heading the other direction. CUT TO: 12 EXT. PLAZA - DAY 2 - 09.26 The ambulance lurches to a stop. A MALE and FEMALE PARAMEDIC lift Sams body onto a gurney. Carrying her -CUT TO: 13 INT. AMBULANCE - DAY 2 - 09.27 Doors slam, then -- SAMS EYES POP OPEN -- SHES NOT DEAD. Sam pulls off a bloody wig, her real (identical) brown hair beneath. The female Paramedic -- actually ZOE MORGAN, Sams colleague -- swabs FAKE BLOOD off her face, while the other paramedic, HASAN, climbs behind the wheel, on lookout. Sam and Zoe adrenalized. British accents, bone dry -ZOE Saw you breathing. SAM Did not. 13 12

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HASAN (humourless) Hurry it up.

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As Zoe trades a look with Sam, helps her change into IDENTICAL, CLEAN CLOTHES -CUT TO: 14 INT. THEATRE - DAY 2 - 09.34 Chief Guard looks up, seeing Sam re-enter the lobby. Shes all flustered, but looks just as she did before. SAM I left my purse. Its got my passport and everything! Can you help? Bernards furious with me... The Chief Guard leads her back toward the stairs. SAM (CONTD) Oh, thank you. Im always leaving things behind, making him late... Sam feels the gaze of the Dark-Haired Guard again. Does he suspect her? Sam keeps following the Chief Guard. 15 SCENE 15 CUT CUT TO: 14A EXT. PLAZA - DAY 2 - 09.35 14A 15 14

The Sniper walks quickly, rifle case in hand. Turning down an alley, where -- the AMBULANCE idles, out of sight. The Sniper -- actually DEACON CRANE, the team leader -climbs inside the cab. CUT TO: 16 INT. THEATRE - BASEMENT - DAY 2 - 09.36 Chief Guard has led Sam back to the landing. He sees her purse, is about to pick it up when -- very fast -Sam SLAMS HIS HEAD INTO THE WALL -- ELBOWS HIS JAW -- the Guard down and out. She picks up the purse. In her hand -Farouxs MAGNETIC KEY. FLASHBACK TO: Sam pushes Faroux out of the Snipers line of fire. CLOSE Sam pick-pocketing the magnetic key. RESUME - SAM At the metal door. Unlocking it. CUT TO: 16

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INT. THEATRE - BASEMENT - SMALL ROOM - DAY 2 - 09.37 The Bespectacled Man lifts his head, seeing -SAM

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NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 7

Moving toward him. Up close, we see he has TEETH MISSING, BURNS MARKS on his arms and face. SAM Dr Hill? Hes in shock, gradually becoming aware whats happening. BESPECTACLED MAN / HILL Yes... His hands and feet ZIP-TIED to the chair. Sam cuts them free. SAM Im going to get you out of here. I know youre in pain but you have to move quickly and do exactly what I say. Understand? He nods weakly. As she pulls him to his feet -18 SCENE 18 CUT CUT TO: 19 INT. THEATRE - BASEMENT - DAY 2 - 09.38 Sam hurries up the stairs, half-pulling Hill along. HILL Where are we going? SAM Someplace safe. HILL Youre not government, are you? (off her non-response) Who hired you? 19 18

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 8

Suddenly, GUARDS appear above and below. Sam spins -- kicks -jackhammer elbow to the face -- all fluid motion -- all unexpected -- BOTH GUARDS DOWN. Sam turns back to Hill. SAM Do you want to get out of here or not? Hills bloodshot eyes stare at her distrustfully. As she lets himself be taken along -20 SCENES 20-25 CUT 20

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EXT. THEATRE - BACK ALLEY - DAY 2 - 09.41

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Sam bangs through a door out into the open air, Hill squinting at the sunlight, only to find themselves facing -THE DARK-HAIRED GUARD Waiting for them. A beat, Sam UNFAZED -SAM Youre on time. DARK-HAIRED GUARD Thought Id make the effort, seeing as its a special occasion. He turns, uses keys to unlock a tall fence. Hes actually AIDAN MARSH, another colleague. As Sam pulls Hill forward -CUT TO: 26A INT. TOWN CAR - MOVING - DAY 2 - 09.41 Faroux stares ahead, wipes his mouth. Somethings wrong. blood tastes strange. Sweet. Faroux frowns. Mind racing. He reaches in his pocket. The magnetic key is GONE. Then -- he REALIZES -- SHOUTS. Go back! FAROUX Back now! 26A The

The town cars TURN AROUND -- TYRES SPINNING on pavement. 27 SCENES 27-30 CUT 27

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 10

CUT TO: 31 EXT. SIDE STREET - DAY 2 - 09.43 Aidan moving ahead of Hill and Sam. The AMBULANCE lurches to a stop, only inches from hitting him. Aidan glares hostility at Hasan. They may be colleagues, but theres no affection between them. As Sam leads Hill to the back, doors opening -CUT TO: 32 INT. AMBULANCE - DAY 2 - 09.44 Hill climbs inside, Aidan stripping off his guards uniform. Zoe presses Hills thumb onto an OPTICAL SCANNER to get a print, a laptop screen CONFIRMING HIS IDENTITY. Zoe nods to Crane. Hill gathering Crane is in charge. HILL Where are you taking me -- ? CRANE You need a rest, Doctor -Zoe presses an INJECTOR GUN to Hills neck. He collapses, unconscious. Crane looks to Sam. CRANE (CONTD) Hows your head? Sam smiles, pulls on a coat. SAM See you at base. She heads off. Aidan, finished dressing, turns to Hasan. AIDAN (dry, almost pleasant) Yeah. See you there. Wanker. 32 31

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He slams shut the door, heads off in another direction. Crane turns to Hasan, staring daggers at Aidans back. CRANE Lets go. As Hasan puts the ambulance in gear, peels off -33 EXT. CASBAH - DAY 2 - 09.46 33

Sam moves purposefully through the market streets, busy with vendors. Losing herself in the crowd. When -WHAM! The TOWN CAR RUSHES STRAIGHT AT SAM -- unseen, from an intersecting street -- Faroux and the Bodyguard inside. Theyve literally run right into her. Sam pulls herself up -- starts RUNNING, as -- the Bodyguard climbs out. Chasing her ON FOOT. Sam weaves, dodges through narrow alleys -- the Bodyguard still on her tail -- losing her -- then sees shes ducked into a store, runs the other way -- AFTER HER AGAIN, when -Sam veers down another street -- lost in the crowd -- when suddenly shes GRABBED FROM BEHIND, yanked into -34 EXT. ALLEY - DAY 2 - 09.48 She finds herself face to face with Aidan. AIDAN Its alright. Youve lost him. Sam glances over her shoulder, still winded -SAM You shouldnt be here. Aidan smiles. AIDAN I missed you. And KISSES HER. She kisses him back. Passion fuelled by adrenaline. Finally -- his voice low, intimate. AIDAN (CONTD) How much longer we want to keep doing this, Sam? SAM Its our job. AIDAN It doesnt have to be. 34

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Sam looks into his eyes. As if considering whether she can believe him. Then kisses him one more time.

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SAM We have to go. AIDAN Keels going to catch onto us, sooner or later. SAM He might. AIDAN Lets leave on our own terms. While we still can. Sam hesitates. Something else on her mind. AIDAN (CONTD) What? SAM Theres something I need to talk to you about. AIDAN OK. But Sams leaving. Looks to make sure the coast is clear. SAM Not now. AIDAN Then when? SAM Cafe Khalil. 4 oclock. Dont be late. She starts off. AIDAN I wont. She doesnt turn around. Doesnt believe him. SAM Right. Sam disappears into the crowd... Aidan watches her go, smiles to himself, then heads the other way. CUT TO:

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EXT. CAFE KHALIL - DAY 2 - 16.00 Chickens scratch the dirt outside this stucco box on a desolate, weed-strewn beach. A RENTAL CAR pulls to a stop. CUT TO:

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INT. RENTAL CAR - DAY 2 - 16.00 Sam reaches for her satchel on the passenger seat. Some items -- lipstick, a few foreign passports, etc. -- spill on the seat. She stuffs them back inside, including -A crinkled sheet of THERMAL PAPER. We glimpse a black and white image. Its an ULTRASOUND SCAN. Showing the shadowy outline of a 3-month-old FOETUS in the womb. Sam glances at it, then stuffs it inside the satchel. Gets out of the car. Slamming the door behind her. CUT TO:

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37

INT. CAFE KHALIL - DAY 2 - 16.05

37

An unshaven BARTENDER fries eggs at a kitchenette, Marquise cigarette dangling from his lip. Bic lighter on the counter. Sam sits at a table, a bottle of water in front of her. BARTENDER (in Arabic) You meeting someone? Sam checks her watch -- its 4:05. Aidan kept her waiting after all. Just then, the sound of a CAR ENGINE APPROACHING. Sam rises. Through the grimy window -Not Aidan, but... an open 4x4 with THREE MEN, MACHINE PISTOLS IN HAND. Sam realizes -- this is a trap. Bartender sees them, too -- looks scared. Sams already making a plan -SAM (in Arabic) Get the police.

Now!

Happy to run, Bartender hurries out the back door. CUT TO: MOMENTS LATER The Men enter. The place is EMPTY. Man #1 looks around, motions for the others to search outside. Becoming aware of a FAINT CLICKING, coming from the kitchenette.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 14

Curious, he approaches, gun at the ready. WORK BOOTS creaking on linoleum. He sees... eggs congealing in a cold frying pan, the clicking coming just beneath from... The GAS IGNITER, sparking over and over, pointlessly. When -A BURST OF FLAME SHOOTS UP AT HIM. Its Sam, crouched behind the counter. Aiming the disconnected grill hose, butane ignited by the Bic from the counter. Man #1 drops his gun, ENGULFED IN FIRE, SCREAMING. Sam picks up his weapon, DOUBLE-TAPS HIM in the head. Man #1 thumps to the ground, silent except for his still-crackling flesh. Through the open door -- A SHADOW, on the dirt. The silhouette of a man, heading inside, GUN RAISED. Sam SPINS OUTSIDE, FIRES. Blows MAN #2 OFF HIS FEET. MAN #3 turns at the shot, round the corner to find -- Man #2s body on the ground, sticky blood pooling in the dirt. But Sam IS NOWHERE TO BE SEEN. Sea breeze gently flaps the bamboo shades overhead. He edges around the building, in firing position. Turning one corner. Then ANOTHER. Just as he realises where she must be -SAM DROPS FROM THE ROOF -- KNOCKS HIS WEAPON AWAY -- he SPINS -- KICKS. Both of them tumbling inside -- RUTHLESS, BRUTAL HAND-TO-HAND COMBAT. #3 is big, but Sams faster, smarter. Finally, #3 reaches for the gun on the floor. Sam grabs the barrel -- both of them battling for control -- Sam finally swings the stock like a bat -- #3 reels, hit across the face -- she pulls the barrel against his throat -- jerks it swiftly -- HIS NECK SNAPPING. #3 collapses, DEAD. Sam kneels, searches his body. Some crumpled euros... a BATTERED MOBILE PHONE. Sam pockets them as -Bartender returns with two POLICE OFFICERS. Sam assumes a role -- distraught tourist. SAM (CONTD) (in German) There -- there was a man. I hid. It was terrible -The Cops remain stone-faced, unmoved. Sam now notices -THE COPS SHOES Not police-issue, but FILTHY TRAINERS. These arent cops. Sam looks up -- A GUN POINTED AT HER.

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BOOM! The GUN BLASTS. As Sam is blown backwards, we CUT TO BLACK, the sound of the blast echoing. Then, slowly, we -FADE UP: 38 EXT. SCOTTISH HIGHLANDS - DAY 3 - 06.10 38

Green, rolling hills. The sky purple. Dawn traces an orange line across the horizon. The STONE COTTAGE sits alone in the emerald expanse. A LEGEND: One year later. CUT TO: 39 INT. SOLITARY COTTAGE - DAY 3 - 06.10 A bathtub filled with water. Surface smooth as glass, save the intermittent plink of a drop escaping the tap. CLOSE - AN HOURGLASS Next to the tub. minutes elapsed. GRAINS OF SAND trickle down. Maybe two Three or so to go. Suddenly -39

A FIGURE SPLASHES UP From under the water, gasping for air. unexpected it startles us. Its -SAM. Alive. So loud and

She sucks in air, checks the timer. CUT TO:

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EXT. SOLITARY COTTAGE - DAY 3 - 06.45 Sam running. And running. Pushing herself. Hardness in her eyes. ANGLE - A HILL The sun rising in the east, Sam silhouetted against the craggy ridge. Stopping, unable to go any farther. CUT TO:

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EXT. SCOTTISH VILLAGE - DAY 3 - 08.43 A little village, stone walls and narrow streets. A CAFE. CUT TO:

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INT. VILLAGE CAFE - DAY 3 - 08.43

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A morning crowd. Sam picks up newspapers from a rack -- the Scotsman, Times, and Guardian -- tucks them under her arm. Pays for them and a take-away COFFEE.

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She heads outside. Greets a plain WOMAN pushing a buggy. Sam bends down, smiles at the baby girl. CUT TO: 43 EXT. SOLITARY COTTAGE - DAY 3 - 09.14 The scarecrow still stands watch after all these years, although now faded and weathered. Sam pushes through the gate, papers under her arm. We hold on the old stone, the last two letters overgrown with moss. It reads Mort (French for death). CUT TO: 44 INT. SOLITARY COTTAGE - DAY 3 - 09.14 Sam drops the newspapers on a table. Turns the Scotsman to PAGE 12. CLOSE - AN AD for jewellery. Tucked into the design of a bracelet is a distinctive SYMBOL. Its subtle. You wouldnt notice unless you were looking for it. Sam CIRCLES IT. Sam opens the Times. Turns to Page 12. Sees ANOTHER ADVERTISEMENT. For financial services. The SAME SYMBOL, hidden in the design of a mans shirt. She circles it, too. Then the Guardian. Page 12, too. An AD for lager. A SYMBOL in the condensation on the glass. She circles that one, too. We dont know what the symbols means. But Sam does. CUT TO: 45 EXT. SOLITARY COTTAGE - NIGHT 3 - 19.39 Night. Smoke curls from a chimney atop the little cottage. CUT TO: 46 INT. SOLITARY COTTAGE - KITCHEN/WORK AREA - NIGHT 3 -19.39 46 Sam spears a piece of tinned meat, simmering in a pan. She sets it on a plate. Carries it past shelves, lined with neat STACKS OF THE SAME TINNED MEAT. CUT TO: 46A INT. SOLITARY COTTAGE - WORK AREA - NIGHT 3 - 19.40 46A 45 44 43

A LAPTOP glows in an alcove. Beside it, the battered mobile she took from Man #3. Its electronic guts dissected -numbers, text, GPS data.

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WALLS covered with notes, lists, flow charts -- cities, dates, names -- photos of Faroux, Crane, Zoe, Hasan, and a distinguished-looking MAN with a face well remember. Lines connect them to cities, operations. Handwritten questions on Post-It notes -- motive, opportunity, timing. Trying to answer who ordered her death. And why. Sam works at her computer. Stops. Picks up a photo of Aidan. Studies it. FLASHBACK TO: QUICK CUTS -- The alley. Aidan: At least lets talk about it. Sam: Cafe Kahlil. 4 oclock. The cafe. Sam waits. Checks her watch. Sees not Aidan, but the Men in the 4x4. CLOSE - SAM Tortured by suspicion, betrayal. As she pins up the photo -CUT TO: 47 INT. SOLITARY COTTAGE - BEDROOM - NIGHT 3 - 23.08 47

The Snow Maiden & Other Tales. The WORN BOOK Sams mother read to her as a girl, on an end table. Sam turns out a lamp. Goes not to the bed, but to the corner, where she crouches, knees pulled up tight. She shuts her eyes. As she does -YELLOW LIGHT swings through frame again, like a hypnotists pocketwatch. The sound of the HEART BEAT RISING --- The deserted petrol station. Young Sams POV out the rear windscreen. Men alight from the black car. Coming toward Sams Mother. Sams Mother paralysed by fear -YELLOW LIGHT, left to right --- Sams Mother leans in the car. Tells Young Sam to scrunch down, hide on the floor -YELLOW LIGHT, right to left -Young Sam hiding in the back of the car -- biting her lip -trembling in fear -- unable to resist glimpsing outside -seeing -- her Mother, approaching the Two Men -The YELLOW LIGHT swings left to right, taking us -CUT TO:

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INT. SOLITARY COTTAGE - BEDROOM - NIGHT 3 - 23.19 WIDE on the dark room. Sam curled in a ball, like a child. Her eyes open. Moments pass. Sleep wont come. CUT TO:

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INT. SOLITARY COTTAGE - DAY 4 - 06.10 CLOSE - THE HOURGLASS SAND trickling down. WHEN -SAM

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Splashes up from underwater, checks the timer. Three minutes elapsed. Less than two to go. CUT TO: 50 EXT. SCOTTISH HIGHLANDS - DAY 4 - 06.41 Mist shrouds the little cottage. The sky deep blue. Sam exits. Runs. And runs. The hill looming beyond. ANGLE - SAM Scrabbles up the rock-strewn hill, bathed in sweat. Then stops. Winded. She drops to her knees, rolls onto her back. Stares up at the sky. CUT TO: NO SCENES 51 AND 52 53 INT. SOLITARY COTTAGE - BATHROOM - NIGHT 5 - 20.54 VERY CLOSE - THE HOURGLASS Sand trickling down. Only a few grains left, then -- the last bit of sand clings to the inner lip of the glass, finally falls. Silence, the still frame -ANGLE - SAM Splashes up from the bath water. Checks the hourglass. Satisfaction in her eyes. CUT TO: 54 EXT. SOLITARY COTTAGE - DAY 6 - 06.10 Sam bangs out the front door. Runs into the green beyond. CLOSE - SAMS EYES 54 53 50

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As she runs. No effort, no sound. Just pure focus. ANGLE - THE HILL Sams feet bound from rock to rock. Moving up and up. ANGLE - SAM Climbing past and beyond camera. Toward the rocks where she fell before. Determined to get past them this time -ANGLE - THE HILL SUMMIT Empty. Then -- a hand. And another hand. Sams face. Shes reached the top at last. She sits, looks out at the spectacular valley below. The rising sun shining in her eyes. Shes ready. CUT TO: 55 INT. SOLITARY COTTAGE - DAY 6 - 07.49 55

The newspapers thrown in the fire. Sam looks down at them. CLOSE ON the mysterious symbols, curling black in the flames. A DUFFLE lands in frame. Sam packs laptop, clothes, gear. Strips notes, charts off the wall. The photo of Aidan. Then, an afterthought, her mothers worn book. The duffle ZIPPED -THE SCREAM OF A TRAIN BLURRING THROUGH FRAME. We are at: 56 EXT. KINGS CROSS RAIL STATION - DAY 6 - 12.32 High-speed trains beneath a cavernous 19th Century arched roof. We find -Sam, a tiny figure, exiting one of the trains, carrying a duffle, flight case and satchel. Shes dressed modestly, hair pulled back. A face in the crowd, unnoticed. CUT TO: 57 EXT. MODEST STREET - DAY 6 - 14.21 A working-class neighbourhood. Sam has an address in hand. Approaches a small block of flats. CUT TO: 57 56

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INT. MODEST FLAT - DAY 6 - 14.24 A LETTING AGENT shows the place to Sam. She studies the room, three windows overlooking the street. Appraising. Very plain. Dull. Perfect. She sets down her bags. CUT TO:

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58A

INT. MODEST FLAT - DAYS 6/7 - 18:32 - 04:54 BLUE PLASTIC TARPAULIN unfurls loudly, draped floor to ceiling in the little flat.

58A

VARIOUS ANGLES -- Sam at work behind the tarpaulin -- moving pieces of lumber, plasterboard -- sawing -- joining angles. BUILDING SOMETHING. CUT TO: 58B EXT. MODEST FLAT - DAY 7 - 05:14 58B

Sam through the uncurtained window. Still working. The sky beyond glows pale yellow with early morning light. PRELAP A MANS VOICE: KEEL (O.S.) Why do you need us? CUT TO: 59 INT. BYZANTIUM - KEELS OFFICE - DAY 7 - 14.24 59

The Man enters frame -- hes the distinguished-looking man we saw on Sams wall. Rugged features with dark, hawk-like eyes that dont miss a thing. RUPERT KEEL. KEEL I dont think it needs explaining. Not when 51 of the worlds 100 largest economies are no longer countries, but corporations. INTERCUT: 60 EXT. MODEST STREET - DAY 7 - 14.55 60

Sam exits, heads down the road. Wearing professional clothes. CUT TO:

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INT. BYZANTIUM - KEELS OFFICE - DAY 7 - 14.55 WIDER - KEEL

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Fit, trim. His suit bespoke, his office elegant. Not a hair, not a line, out of place. Speaking to someone via a speakerphone system. KEEL You are in a war, but you command no army. You need mercenaries to fight your battles. 62 EXT. FARRINGDON STREET - DAY 7 - 15.10 Sam stands on the far side of the street, traffic swishing through frame. Staring at an office tower across the way. 63 INT. BYZANTIUM - KEELS OFFICE - DAY 7 - 15.10 63 62

Keel crosses to the window. A commanding view of the London skyline beyond. KEEL Byzantiums only loyalty is to you, our client. Looking down on the street -KEELS POV - SAM Crosses through traffic. Moving toward the lobby beneath. RESUME KEEL A frown creases his face, reflected in the glass. KEEL (CONTD) And we will do whatever is required to ensure you prevail. From the speakerphone:

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CEOS VOICE (filtered) Thank you, Mr Keel. Well be in touch. PRELAP the ding of LIFT DOORS OPENING -CUT TO: 64 INT. BYZANTIUM SECURITY - LOBBY - DAY 7 - 15.16 A sleek reception area. Sam moves over a polished floor where we see... The same symbol Sam saw printed in the newspapers. The logo for Byzantium Security International. 64A INT. BYZANTIUM SECURITY - ANALYSTS FLOOR - DAY 7 15:17 64A 64

Lift doors part. Sam strides out. Some TECHNICIANS and INTEL STAFF glance up discreetly from their desks. Look to each other -- Shes back??? Sam intercepted by -Keel, moving toward her from his office. KEEL The very second I open my eyes each day I ponder the infinite variables of chaos that can occur during any working day. I like to be one step ahead. I dont like to be on the back foot. I dont like it at all. And Im on the back foot right now because out of all the infinite variables of chaos I pondered this morning, the one that never crossed my mind was that you would be standing in front of me. Another moment. KEEL (CONTD) An explanation would be good. SAM I decided to retire. KEEL That decisions not yours to make. SAM Good thing I changed my mind then. CUT TO: NO SCENE 65

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 23

66

INT. BYZANTIUM - KEELS OFFICE - DAY 7 - 15.32

66

CRANE steps inside. Unable to conceal his surprise seeing... Sam, seated opposite Keel, watching her in silent appraisal. CRANE Sam? SAM Deacon. CRANE I thought you were dead. SAM Guess not. KEEL You disappear without a trace for a year. Ive had daily signals placed in 24 newspapers for six months -SAM I havent been reading the papers. Keel, containing his anger, looks to Crane. CRANE Aidan saw you last. Outside the theatre in Tangier. SAM Thats right. CRANE Where did you go? SAM Sightseeing. CRANE Sightseeing? SAM I was tired. I needed a change of scenery. Crane looks to Keel. Reading his extreme displeasure. SAM (CONTD) Id be happy to take a polygraph. KEEL You can beat a polygraph.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 23A

CRANE We need to know where youve been, Sam.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 24

SAM And I dont want to tell you. But if the question is whether you can still trust me -- you can. KEEL You expect to come back to work. SAM Im one of your best operatives -KEEL And Ive put my neck on the block for you. I still have to report up. I still have to deal with the questions, did you think about that? Did you think about the chaos you unleashed? Moment. SAM Do I get my job back? KEEL Doors that way. A beat, then Sam gets up to leave. CRANE We need her back. You know that. Keel keeps his eyes on Sam, on her way out. Thinking. KEEL So does she. CUT TO: 67 INT. SAM'S FLAT - NIGHT 7 - 20.43 Empty except for a table. The place looks different -smaller than it did before. We cant tell exactly how. Sams MOBILE PHONE vibrates on the counter. She picks up. SAM Yes. INTERCUT: 67

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 25

68

INT. BYZANTIUM - KEELS OFFICE - NIGHT 7 - 20.43 Keel stands at the window, looking out at the city. KEEL Be here tomorrow. 0800.

68

The line goes dead. Sam sets down the receiver, breathes deep. Its begun. 69 CUT SCENE 69 CUT TO: 70 INT. BYZANTIUM - BRIEFING ROOM - DAY 8 - 08.16 70 69

A windowless room. A CONFERENCE TABLE embedded with a VIDEO SCREEN, iPad-type DEVICES slotted at each place. Crane, Zoe and Hasan are seated around it, as well as a new man -IAN FOWKES, big, barrel-chested, 30s. The sort of bloke who, without the discipline of a job, would be an out-of-control priapic pain in the arse always looking for a tear-up. The door opens, all of them looking up to see -- SAM. HASAN Well, well. Look who dragged her ass back in the door. SAM Hasan. Good to see you, too. Zoe stands, crosses to her. Quietly pleased. ZOE Sam. (smiles) Nice boots. Sam smiles back. An ease between the two of them. SAM Thanks. Hasan notices Fowkes staring at her. HASAN Put your tongue back in your head.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 26

Fowkes ignores him, goes to Sam. Standing too close. FOWKES Sam, right? Ian Fowkes. ZOE Fowkes is ex-Special Forces. New to the private sector. FOWKES My first op, actually. Really looking forward to working with you. He gives her a smile thats meant to charm. SAM (desert dry) Uh huh. She and Zoe head to their seats, leaving Fowkes standing there, feeling vaguely foolish. The moment broken by the entrance of Keel, moving to his seat, all business. KEEL Lets get started, shall we? Zoe stands like a croupier above the table, touching the screen to power it on. Up come VIDEO IMAGES, SURVEILLANCE PHOTOS of JACK TURNER, hefty, 60s... Well-dressed, but with the toughness of the East End streets where he grew up. ZOE Target is Jack Turner, ran the -Shes interrupted by the DOOR OPENING. Aidan enters -AIDAN Sorry Im late. -- and freezes at the sight of Sam. Her eyes betray nothing, but a barely perceptible shiver passes over her. Aidan looks to the others. No one had told him Sam was back. AIDAN (CONTD) (to Sam) Youre back. SAM Looks like it. Nothing more to say. Aidan breaks the tension, a wry smile -AIDAN Brought a cake if Id known.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 26A

He takes his seat. Crane looks to Zoe, prompting her. CRANE Zoe. She returns to the screen. Bringing up PHOTOS, VIDEO, NEWSPAPER and MAGAZINE ARTICLES. ZOE As I was saying -- Jack Turner worked the docks in the mid to late 70s. Extortion, blackmail. You name it. After they shut down, he got into property, made a killing on the Docklands. He must have upset a few people because in 1996 his eldest son, John, was found murdered and mutilated.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 27

IMAGES of John, tall, powerful like his father, replaced by CRIME SCENE PHOTOGRAPHS. Of Johns corpse, then -- Zoe drags over a NEW VIDEO FILE, taps to open it. ZOE (CONTD) Jack played the markets shrewdly and now runs his investments from a house off Regents Park. Personal wealth in excess of 300 million. FOWKES (low whistle) Blimey... Hasan stares at him, unamused. Aidan eyes Sam, wondering at her return. She meets his gaze, but her look is blank, ungiving. Aidan notices -- Keel, watching the two of them. CRANE There are questions regarding how Mr Turner accumulated his wealth. Some of his business associates have disappeared or turned up dead. ZOE Mr Turner is currently bidding to acquire the Upper Khyber Dam -Zoe brings up VIDEO and PHOTOS of a MASSIVE WATER PROJECT. ZOE (CONTD) -- a billion-pound hydroelectric facility. The Pakistani Minister for Privatisation is auctioning it off to the highest bidder, despite fierce political opposition. A presidential candidate, Fatima Zahir, is vowing to block the sale if she wins in next months election. An IMAGE of Zahir -- 50s, head scarf, Western clothes -speaking at a campaign rally. Sam turns to Keel. SAM A billion-pound utility seems a bit out of Mr Turners league. KEEL Hes staking his entire fortune on it. We can be sure hell employ all his old tricks -- murder, blackmail, extortion -- to ensure he wins.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 27A

AIDAN And our client wants us to ensure he loses. KEEL Yes. But not before we find out what Turners game really is. CRANE The agenda behind his agenda.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 28

HASAN Whats our play? CRANE Sam will be the draw. SAM And the target? ZOE Stephen Turner, Jacks surviving son. Zoe brings up images of STEPHEN TURNER, 30s, a family resemblance, but without the older mans hardness. In one photo, Stephen walks behind his father, a chill between them. ZOE (CONTD) Stephens public-school educated, a lawyer, widowed with a young son, Edward, age 10. They live in the house with Jack. FAMILY PICTURES come up. Showing EDWARD, and his late mother, REBECCA TURNER. SAM What happened to the mother? ZOE Suicide, last year. Sam swallows, stares at the boys school portrait, wide eyed and innocent. Unexpectedly moved by it. Crane looks to Sam. CRANE Jack Turner is aggressive, controlling. It wont be easy getting to Stephen. Or giving him a reason to trust you. SAM I assume you have a plan. Crane nods. CRANE Study the files. We have a lot of prep and not a lot of time.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 29

They all slide files off the touchscreen onto their devices. Sam is the first one up, satchel in hand. Aidan watches her, but she doesnt look back as she exits. CUT TO: 71 EXT. FARRINGDON STREET - DAY 8 - 08.22 Sam walks down the road -- Aidan exits the office tower. Pursuing her. Sam quickens her pace -- turns a corner. Aidan in the crowd behind her. Getting closer. Sam turns, hurrying downstairs into an Underground Station. CUT TO: 72 INT. UNDERGROUND STATION - DAY 8 - 08.22 Sam passes through a turnstile. Takes the stairs two at a time. Aidan running downstairs to catch up. ANGLE - UNDERGROUND PLATFORM A TRAIN idles, passengers getting on and off. Sam ducks inside, then turns, watching through the windows. HER POV - AIDAN Arrives, breathless, scanning for Sam. Spotting her in the train. But the DEPARTURE BUZZERs already sounding. As the train pulls out of the station, stranding Aidan -CUT TO: NO SCENES 73 AND 74 75 EXT. SAM'S FLAT - DAY 8 - 08.46 Sam makes her way down the street, looks over her shoulder -- no sign of Aidan. Then, reaching her step, she finds... Aidan. Waiting there. Off her what the fuck look -AIDAN What did you expect? Im a spy. CUT TO: 76 INT. SAM'S FLAT - DAY 8 - 08.47 Aidan enters, scans the empty flat. Sam watches him, hostility and distrust... As soon as he turns back, she rearranges her face into blank inscrutability. 76 75 72 71

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 30

AIDAN (it isnt) Nice place. Sam sets down her satchel. SAM Youve seen it. You can go now. AIDAN I knew youd come back, Sam. You couldnt stay away. Even if it meant theyd try killing you again. SAM How do you know anyone did? AIDAN Sam, that cafe was a blood bath. SAM Is that what you told Keel? AIDAN Keel doesnt know. Or at least I didnt tell him. SAM Why not? AIDAN I could see you had escaped. If you didnt report in, I figured you had your reasons. Sam turns to him. SAM How did you know I wasnt dead? FLASHBACK TO: 77

INT. CAFE KHALIL - DAY 2 - 16.08

77

Sam on the floor, bleeding. The Cop who shot her approaches. Gun in hand. About to shoot her again -- in the head. When -Fast -- Sam kicks his leg -- hes down -- her finger over his trigger finger -- making him shoot Cop #2 -- then pointing it at Cop #1s throat. Shooting himself. MOMENTS LATER

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 31

The Bartender, shaken, watches Sam get in her car. Drive away. Her bloody footprint left on the floor inside. CUT TO: 78 INT. SAM'S FLAT - DAY 8 - 08.48 AIDAN I saw your footprint. Not a pulse in the place. What happened? SAM I was set up. AIDAN By who? Sam fixes him with a searing look. Clear shes accusing him. Hes more disappointed than surprised. AIDAN (CONTD) You think it was me? SAM No one knew else knew where Id be. Only you. AIDAN OK. I see that. Except -- youre talking about me, Sam. SAM Right. So someone else found out where Id be... AIDAN Someone mustve. SAM How? AIDAN I dont know. A little moment, Sam still hostile but a thought flickering. SAM Not a pulse in the place... The bartender was alive when I left. Aidan narrows his eyes, surprised by this. FLASHBACK TO: 78

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 31A

79

INT. CAFE KHALIL - DAY 2 - 16.41

Aidan enters. Sees the bodies of the Men, Sams bloody footprint, then... the Bartender, splayed on the floor. In a pool of blood. CUT TO:

79

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 32

80

INT. SAM'S FLAT - DAY 8 - 08.49 AIDAN He was most definitely dead. FLASHBACK TO:

80

81

INT. CAFE KHALIL - DAY 2 - 16.13

81

BOOTS walk past the dead bodies. We RISE UP to a face well remember -- smooth, round, almost featureless. Well call him the BLANK-FACED MAN. He could be a cop. Maybe he just acts like one. BLANK-FACED MAN (in Arabic) Can you tell me what she looked like? BARTENDER A very pretty lady. Brown hair. In her 30s, I think. Blank-Faced Man picks up a GUN from the floor with a rag. BLANK-FACED MAN Thank you. Youve been very helpful. Then LEAVES. Alone, the Bartender looks at the mess, shaking his head, then -- boom! He falls to the floor, DEAD. ANGLE - A SHATTERED WINDOW. RACK FOCUS TO -Blank-Faced Man. He shot the Bartender from outside. With the gun he picked up. CUT TO:

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 33

82

INT. SAM'S FLAT - DAY 8 - 08.49

82

Sams hostility and distrust more open, she watches Aidans every move, every expression on his face. SAM Someone was sent to clean up. Sort of thing youre good at. Very thorough. AIDAN (had enough now) OK, since youve worked it all out, lets say that, yeah, I did order a hit on you, couldnt go the normal route of Its just not working out between us, we both want different things, its not you its me -no, lets go for an assassination instead. But why would I want to kill my own child? On Sam, a bolt of shock passing through her. AIDAN (CONTD) I knew what you wanted to talk to me about. I knew every tiny inch of you. You think I hadnt noticed? I knew. Sam looks away from him. And just for a moment, all the hostility and distrust evaporates, the edge between them is gone. Theyre just two people with a screaming sense of loss. Aidan makes some helpless gesture towards her body. AIDAN (CONTD) Sam... (stops, doesnt know how to say it) Did --? She pulls up her top, shows the scar on her abdomen. SAM That answer your question? Aidans face twists at the damage, at whats been lost between them. Sam pulls her top down again, looks away from him, shoulders hunched. AIDAN (quiet) Gods sake, Sam. You cant believe that this was down to me. (MORE)

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 34 AIDAN (CONT'D) Why would I want to do that to you? Why? We were in love.

His eyes radiate sincerity. SAM We were. The hostility, distrust, are searing. A long, long moment. Aidan feeling the unbridgeable gulf between them. Then: AIDAN So you want to know who tried to kill you. And why. And you think, the only way to find out is to give them another chance. So you come back. You had to, sooner or later. (beat) But ask yourself, Sam. Why wont you trust me? Because you dont love me anymore? Or because youre afraid you still do? And then Aidan leaves. For a moment, Sam cant move, wrought with all the emotion shes been reining in. Then she goes to the window, seeing Aidan hail a taxi on the street below. Sam can hardly breathe. Wondering who he really is. Whether shes made a terrible mistake accusing him. Its only after hes out of sight that she manages to turn away. Going -ANGLE - THE WALL A hidden compartment behind the wall heater. Sam pulls it open. Climbs inside -CUT TO: 83 INT. SAM'S FLAT - SECRET ROOM - DAY 8 - 08.54 This is what Sam built, why the flat looked different. On one side, studs and plasterboard. On the other, electronics, her LAPTOP. The CLIPPINGS, NOTES and CHARTS shed assembled at the cottage. Now assembled here. Sam types in keystrokes. On the screen: Mobile cloned. Hacking Aidans phone. Then accessing MESSAGES. A single VOICE MAIL. She presses PLAY. WOMANS VOICE (filtered) Three arches. In the darkest. 83

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 35

Sam frowns. Puzzled. Switches on a GRAPHIC EQUALIZER. The Womans voice mapping jaggedly. WOMANS VOICE (CONTD) (filtered) Three arches. In the darkest. She rewinds. Plays it again. And again. Focusing on the last three words -- in the darkest -- in the darkest. And now we see/hear what she hears -- a SOUND behind the words. A sort of TINKLING amidst a WHOOSH OF WHITE NOISE. Off Sam, wondering what it is -CUT TO: 84 INT. RED FRIAR HOTEL - DAY 8 - 08.58 The SAME TINKLING and WHITE NOISE, much louder. Now we see its coming from an ELEGANT FOUNTAIN in the lobby of this posh, boutique hotel, where -AIDAN breaks frame, passing the front desk. He heads straight for a lift. He steps inside and doors close -CUT TO: 85 CLOSE - A HUMAN SKULL PAINTED ON A CANVAS 85 84

CAMERA PANS back and forth. The SKULL WARPS STRANGELY... anamorphically distorted... normal... distorted... normal. We are: 86 INT. CAFE, ISTANBUL - NIGHT 8 - 20.11 REVERSE ANGLE - THE BLANK-FACED MAN Sits at a table, his face illuminated by a laptop screen. ANGLE - THE SCREEN - HOLBEINS THE AMBASSADORS A 16th Century painting featuring two distinguished-looking men. Incongruously, a LARGE HUMAN SKULL floats between them. CUT TO: 87 EXT. CAFE, ISTANBUL - NIGHT 8 - 20.17 The Blank-Faced Man buttons his coat against the cold. His mobile BUZZES. He reads a message. Opens an attachment. A photo of SAM. He stares at her image, face unreadable. CUT TO: 87 86

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 36

87A 88 89

NO SCENE 87A NO SCENE 88 INT. SAM'S FLAT - NIGHT 8 - 23.04 Sam, curled in a corner, asleep, uncurtained windows and lights from passing cars track across the ceiling... CLOSE - ON SAM Her closed eyes flit with rapid eye movement. The car headlights on the ceiling become... YELLOW LIGHT swings through frame, the sound of a HEART BEAT taking us --- The Girl, hidden in the back seat of the car. YELLOW LIGHT swings back through frame, right to left --

87A 88 89

-- The Girl cant stand waiting any longer. Carefully she lifts her head, peering outside. Sees -- the black car in the distance. But no sign of her mother or the Men. YELLOW LIGHT, left to right -The Girl eases open the door. Steps outside. YELLOW LIGHT, right to left -The Girl sees the body of her mother. Lying on the asphalt beyond. As the Girl walks slowly toward it -YELLOW LIGHT takes us back to --

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 37

Sams eyes SNAP OPEN. Disoriented for a moment. CUT TO: 90 EXT. REGENTS PARK - DAY 9 - 09.49 Cars line the circular inner drive of one of Londons most exclusive parks. Joggers, people walking dogs, pushing buggies along the circular inner drive. We TRACK BEHIND a WOMAN. Only as she looks over her shoulder do we reveal its -SAM Hair tinted and scraped back, simple make up. She carries a handbag. Looks across the park toward -STEPHEN TURNER Strolling through the inner lawn, in Sams direction. His son, EDWARD, 10, runs a few paces ahead, music thumping from his iPod as he chases a remote-control RACE CAR. Their bodyguard, BINGHAM, 40s, follows discreetly. Tall, military, the ascetic look of an SAS chaplain. His eyes scan the crowd for danger. RESUME - SAM Turning now as she sees a CAR cruise down the circular street beside her. CLOSER, we see -- Fowkes behind the wheel, Hasan in the passenger seat. Rolling up a TINTED WINDOW. Sam keeps on. Passing the path where Stephen, Edward and Bingham are turning onto the sidewalk, a distance behind Sam. Who stops now, seeing -A TRANSIT VAN ZOOMS DOWN THE STREET. Its weaving wildly, SCRAPING and SMASHING CARS. We cant see behind the tinted windscreen inside, where -91 INT. TRANSIT VAN - DAY 9 - 09.49 Zoe is behind the wheel, Crane riding shotgun. 92 EXT. REGENTS PARK - DAY 9 - 09.49 Sam stops. Cries of consternation, joggers and dog walkers rushing to get out of the way. But not --- Edward, music in his ears, focused on -HIS REMOTE-CONTROL CAR 92 91 90

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 38

Racing ahead on the sidewalk. He runs to catch it, creating a gap with his father and Bingham. Just then, Zoe JERKS THE WHEEL OF THE VAN. ANGLE - BINGHAM AND STEPHEN As they realise the truck is headed right for them -ANGLE - ZOE Presses on the accelerator, and -CLOSE - EDDIES REMOTE-CONTROL CAR Flips over a rock, crashing into the gutter, as -WIDER The truck JUMPS THE KERB, AIMING FULL-SPEED AT BINGHAM. Who just manages to jump out of the way as THE TRUCK SLAMS HEAD-ON INTO THE FENCE. Theres CHAOS. PEOPLE SCREAMING. Bingham is momentarily disabled, Stephen distracted, when the CAR screeches to a stop at the kerb. Hasan jumping outside, ROUGHLY GRABBING -EDWARD Who screams and struggles. EDWARD Dad! Hasan pulls him toward the car, Stephen and Bingham seeing him in the distance -STEPHEN (screaming) EDDIE!!!!! He starts after him, the chaos of people running and screaming, Bingham trying to fight his way through -ANGLE INSIDE THE VAN - ZOE & CRANE Unhurt, Crane looks to make sure Hasan has the boy. Then Zoe shifts the van in reverse. ANGLE - BINGHAM Nearly RUN OVER by the van. Before Zoe changes into drive, tearing away --

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 39

STEPHEN (CONTD) Eddie! Thats my son! Somebody! Please! Hasan, opening the cars rear door, about to push Edward in back, when -- hes PEPPER-SPRAYED in the face by -Sam, Edwards unexpected saviour, yanking the boy away from Hasan, who recoils, (mock) BLINDED. Then climbs into the car, Fowkes SCREECHING AWAY, the crowd stunned as -Stephen and Bingham get to Sam, the boys arms wrapped tight round her neck, looking close in each others eyes. Bingham gets out his mobile, dials for back-up. Sam plays her role to perfection, shaking, shocked, breathless. SAM/ALEX (American accent) Its OK, its OK, youre safe. I promise. Youre safe, heres your daddy. Stephen looks at Sam. The stranger who saved his son. SCENE 93 CUT CUT TO: 93A EXT. TURNER TOWNHOUSE - DAY 9 - 09.53 93A

Bingham jumps out of the lead car, SECURITY MEN helping Stephen, Edward and Sam out of the other vehicle, escorting them inside the house, grand and imposing. CUT TO: 94 INT. TURNER TOWNHOUSE - STAIRWAY/FOYER - DAY 9 - 10.02 94

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 40

Opulent, wide marble floor. DOUBLE DOORS swing open, revealing -JACK TURNER Striding out of a library, face clenched, some Businessmen seated behind him. In person, we sense his power -- an intensity, anger and charm that compel respect and fear. He heads straight for Edward, entering with Sam, Stephen and the others. MRS SIDWA, the housekeeper, 50s, Indian, steps forward from the kitchen, face creased with worry. JACK TURNER (to Edward) You alright? You OK? Youre OK. All in one piece. Granddads little soldier, arent you, Eddie, eh? Come here, come here. He holds the boy, kisses his head. Edward doesnt respond, but he doesnt fight the affection, either. Jack gestures for Mrs Sidwa. JACK TURNER (CONTD) You go with Mrs S. Have some icecream. Everythings alright. Grandadll sort it. Good boy. Mrs Sidwa takes Edward, her arm round him, off to the kitchen. Edward turns back to look at Sam. His eyes scared. On Sam for a moment, we see she feels sick at herself, terrifying a kid. Jack turns back to them. Sam plays the role to perfection, the shock, the uncertainty. Jacks eyes go first to Bingham, his anger coiled, but lethal and unmistakable. JACK TURNER (CONTD) What happened? STEPHEN Dad, it was quick, so quick, professional -JACK TURNER What did he look like? STEPHEN I dont know, looked Middle Eastern, I think, it was so quick -He finally seems to notice Sam --

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 40A

JACK TURNER Whos this? STEPHEN Dad, this is Alex Kent. She saved Eddie. JACK TURNER Got any ID?

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 41

STEPHEN For Christs sake! A moment, Sam/Alex wide-eyed, Jack with his hand out. JACK TURNER (edge) ID. Sam/Alex looks unsure. Stephens eyes apologetic. SAM/ALEX Er... yes... She fumbles in her bag, pulls out a U.S. driving licence. Its from the state of Indiana, identifies her as Alex Kent. Jack studies it. JACK TURNER Yank. Tourist? SAM/ALEX No, I... not exactly. Some Businessmen stand at the library door. Sam/Alex reads their faces without losing the shocked bystander persona. JACK TURNER (to the Men) With you in one second, gents. The Men withdraw. Jack looks back at Sam/Alex. JACK TURNER (CONTD) What then? If not a tourist, what are you? SAM/ALEX (nervous) Ive been here a few months, looking for work. STEPHEN (low) You want to stop this? She saved Eddie. Saved him. JACK TURNER And were very grateful. Stephen hands the licence to Bingham. JACK TURNER (CONTD) Stephen, a word alone please.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 42

Jack heads off. Stephen hesitates. Sam/Alex looks like she cant wait to get out of here. STEPHEN Im sorry, Miss Kent. SAM/ALEX ... Its OK, really. STEPHEN No, it isnt. But thank you so much. Thank you. And then he follows his father. Leaving Sam standing in the entry, looking into the kitchen beyond. Where she can see Mrs Sidwa tending to Edward, who stares back at her. Some kind of connection forged between them. 94A SCENE 94A CUT 94A CUT TO: 95 INT. BYZANTIUM - KEELS OFFICE - DAY 9 - 11.18 Sam enters Keels office, still dressed as Alex Kent, but speaking again in her own accent. SAM You wanted to see me. 95

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 43

KEEL Crane tells me it all went according to plan. SAM If you call terrifying a 10-yearold boy a plan. KEEL Its for the greater good. SAM Since when was one of our clients interested in the greater good? KEEL You said you wanted to come back, and I took you. Despite the fact you lied to me, and you still are. SAM Ive said all I have to say. KEEL I brought you to this company. I gave you a career -SAM And Im not ungrateful. KEEL You have a strange way of expressing your gratitude. SAM Why did you want to see me, Mr Keel? KEEL We have a breach. Sams eyes narrow. KEEL (CONTD) Its a bit of a coincidence, dont you think? Springing a leak just as you come back. SAM Are you accusing me? KEEL I dont make accusations until I have the evidence to back them up. But when I have it, I will be remorseless.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 43A

Keel studies her closely. KEEL (CONTD) You look drained. It suits Alex Kent, it doesnt suit Sam Hunter. (MORE)

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 44 KEEL (CONTD) (beat) When youre ready to talk, Im here.

Uncomfortable, Sam turns and goes. CUT TO: 96 INT. BYZANTIUM - ANALYSTS FLOOR - DAY 9 - 11.21 Sam has just stepped outside Keels office. Intercepted by Crane, touchscreen device in hand. CRANE Headmaster give you a caning? SAM Keel never leaves marks. Crane smiles, but is concerned. CRANE He doesnt like secrets, unless theyre his. He wont rest until he finds out where youve been. SAM He can try. Crane regards her. Knowing shes heading into trouble, but wont change course. He holds up a touchscreen. CRANE These the men you saw? He holds up the touchscreen. ID PHOTOS of the Businessmen who came down the stairs. SAM Thats them. CRANE Theyre Jacks partners. From KPEK, the Norwegian firm that would manage the dam. SAM No surprise then. CRANE Stephen hasnt called yet? SAM Not yet, but he will. 96

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 44A

Just then, Sams MOBILE starts vibrating. She looks at the caller display -- holds it up for Crane. SAM (CONTD) Like I said. (answering, Alex again) Hello? INTERCUT: 97 INT. TURNER TOWNHOUSE - KITCHEN/ENTRY - DAY 9 - 11.21 97

Stephen steps away from Edward, playing with a PSP, into the entry, where he can talk to Sam/Alex out of his earshot. STEPHEN Alex, its Stephen Turner. SAM/ALEX Hows your little boy?

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 45

She slips into her performance easily. Crane watches. STEPHEN Eddie is... still very shocked. A lots happened to him recently. (quieter) Too much. (beat) Thank you again for what you did. I dont know how to repay you. SAM/ALEX Thats really not necessary. Anyone wouldve done the same. STEPHEN But they didnt. You did. I wonder if I could meet you for coffee tomorrow, if you have time. SAM/ALEX Sure. My schedules... wide open, actually. She looks to Crane. STEPHEN Great. How about the Boat House? Three oclock. SAM/ALEX Three oclock. Ill be there. CUT TO: 98 EXT. REGENTS PARK - THE BOAT HOUSE - DAY 10 - 15.00 98

Sam crosses through the restaurant, a shopping bag in hand. Finding Stephen seated at a table near the window. SAM/ALEX Mr. Turner? He sees her, stands. STEPHEN Stephen, please. She hands him the bag. SAM/ALEX Its a remote-control car. Hope you dont mind, but I saw Eddie lost his yesterday.

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STEPHEN Thats very sweet of you. Eddie asked after you this morning. He wanted to know if you were alright. Alex/Sam smiles, a sudden smile that illuminates her face, the smile of a woman who loves children. SAM/ALEX Thats really sweet. You tell him Im fine. A WAITER approaches. SAM/ALEX (CONTD) (to the Waiter) Just tea, please. English breakfast with milk. (to Stephen) I never really drank tea, but Ive been in London three months and now I cant live without it. STEPHEN Youre from Indiana. SAM/ALEX Thats right. Bloomington. I grew up there. STEPHEN Who do you know in London? SAM/ALEX No one, really. I was trying to make a new start, I guess. My life has taken some... unexpected turns. STEPHEN Yes. Im... Im sorry. SAM/ALEX (confused) Youre sorry? STEPHEN I know about the car crash. Last December. Sam/Alex goes pale, frowns. SAM/ALEX How do you know about that?

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 47

STEPHEN I know your husband and daughter were killed, and Im so sorry for your loss -SAM/ALEX Youre checking up on me? STEPHEN I dont mean to scare you. Its just that our lives, mine and Eddies, are not... usual. Everyone gets checked. Everyone. SAM/ALEX I didnt ask for this. Sam/Alex gets up from the table. Stephen stands, blocks her path. STEPHEN You came to London to try and leave the past behind. I understand that. I really do. I lost my wife... (beat) I didnt lose her, stupid bloody saying. She died. And Id go somewhere, anywhere different, with Eddie, if I could, to start again. A moment. Stephen tries to find a way to say what he came to say. STEPHEN (CONTD) What you did was so completely selfless. In my world, nobody is selfless. I want to try and help you, its the least I can do. SAM/ALEX Help me? On Sam/Alex, no longer play acting, but genuinely surprised -CUT TO: 99 INT. BYZANTIUM - CONFERENCE ROOM - NIGHT 10 - 18.12 99

Keel and Crane sit around the table. Both of them looking at Sam in pregnant silence. Finally, Crane speaks. CRANE So he wants you to move in? Sam nods. Displeased.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 48

CRANE (CONTD) When? SAM Now. At once. Crane looks to Keel. Considering their options. SAM (CONTD) His son missed six months of school and needs tutoring. Alex Kent is an unemployed 3rd grade teacher who loves children. He thought he was doing us both a favour. Crane cant help but smile. Bemused by this unexpected turn of events. KEEL But you declined the offer. SAM Im supposed to screw him, not screw over his kid. KEEL Weve been presented with a better opportunity. SAM If Im in that house, my movements will be restricted. Ill be watched watched every moment -KEEL And youll be in a position to watch them -- to see and hear everything that goes on in that house. Thats far more useful to us. Deacon? Crane nods. CRANE Aidan will be point, Zoe will provide intel and run surveillance with Fowkes. Its all happened so fast. Sam is deeply unhappy about it. Keel stands. KEEL Good. Keel has started to go. Then turns back.

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KEEL (CONTD) Oh, and one more thing. No wires. SAM Why not?

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KEEL A Chinese agent posing as an investor wore a wire to a meeting with Jack Turner two weeks ago. His body was found floating in the Thames a few days later. And he exits. Crane studies Sam, sensing her dismay. Surprised by it. CRANE Well get you out of there as quickly as we can, Sam. Sam nods tightly. Then leaves without a word. 100 NO SCENE 100 100 CUT TO: 101 INT. SAM'S FLAT - NIGHT 10 - 23.34 101

A police siren screams somewhere outside. But inside the flat is quiet, still. We FIND Sam, curled in a foetal ball. Unable to sleep. YELLOW LIGHT swings through frame, taking us --- Young Sam opens the car door. Moving toward her mothers body. From this angle, it looks like she could be sleeping. YELLOW LIGHT, left to right -Over the mothers body, Young Sam stepping up close. YELLOW LIGHT, right to left -BLOOD POOLS on the asphalt. Young Sam stares. Frozen in shock. Seeing -YELLOW LIGHT, left to right -Her MOTHERs NECK, bent at an impossible 270-degree angle, SEVERED TO THE SPINE. When -- a MANs HAND GRIPS THE GIRLS SHOULDER. She spins -The YELLOW LIGHT swings back once more, taking us to --

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102

EXT. HORNSEY LANE BRIDGE - DAY 11 - 06.32

102

A cast-iron bridge, the Thames grey under a leaden sky. Aidan stands at a railing as Sam approaches. AIDAN Going to be tough chasing your assassin, locked up in that house. Some resentment simmers. Knowing she thinks he betrayed her. SAM I want another handler. AIDAN Youre stuck with me. Unless you want to tell Crane you think I tried to kill you -SAM (he knows she wont) Get on it with it then. Aidan watches her. Wishing there was something he could say to persuade her. Knowing there isnt. Getting to business -AIDAN A Dutch engineer, Horst Goebel. Arriving tonight from City airport to meet the Turners. SAM What do we know about him? AIDAN He appears to be a bit of a cypher. No photos, only a brief bio online. Specializes in water contamination. SAM Water contamination... The agenda behind Turners agenda? AIDAN Two million farmers and villagers depend on the water from that plant. It could be. But why? SAM Do we know the nature of Goebels business with Turner? AIDAN Thats what you need to find out. Engage him in conversation, copy any documents he brings with him.

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SAM That may be a little tough with a 10-year-old on my arm. AIDAN Crane figured that. Aidan hands her a SMALL BAG. AIDAN (CONTD) Video eyes. He wants them planted in the library. He goes to leave.

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SAM Keel says theres a mole on the team. Sam studies Aidans face. To see whether his reaction betrays any guilt. AIDAN Who? SAM He doesnt know. AIDAN Then why did he tell you? Sam doesnt answer. AIDAN (CONTD) Did it cross your mind that there is no mole? That hes trying to rattle you because he cant stand not knowing where youve been? Sam again doesnt answer. AIDAN (CONTD) Thats a yes, then. And why tell me? SAM If youre the mole, youll run. AIDAN And if Im not? Sam says nothing. Just turns and leaves. CUT TO: 103 104 OMITTED INT. WATER PROCESSING STATION - OFFICE - DAY 11 - 11.44 103 104 * * * * * * * * * *

Cluttered, the sound of industrial turbines humming o.s. HORST GOEBEL, 50s, enters, BLACK CASE in hand. He looks vexed by something, sets the case on a desk, as -A PLANT INSPECTOR Enters from another door, wearing a white lab coat. INSPECTOR (in Dutch) Good afternoon, Dr Goebel.

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 51A

GOEBEL (in Dutch) Good afternoon. The Inspector senses Goebels mood. INSPECTOR You alright? GOEBEL Fine. Im fine. The Inspector regards Goebel. Whatevers troubling him, he clearly doesnt want to talk about it. She takes off her lab coat, hangs it on a hook. INSPECTOR Ill be back early. So you can get to the airport. GOEBEL Yes... thank you... INSPECTOR See you later. Goebel just nods. The Inspector goes. As Goebel begins putting on his own lab coat -CUT TO: 104A INT. WATER PROCESSING STATION - DAY 11 - 11.44 104A

* * * * * * * * * * * * * * * * * * * * * * * * *

Ringed with massive steel tubes through which water churns. Goebel makes his way across a metal catwalk, clipboard in hand. Checking various settings, readings.

When he turns, hears a sound o.s. Then turns again, sensing -- * a FIGURE, close in f.g. * GOEBEL (in Dutch) Can I help you? The Figure steps forward. Now we reveal its -- the BLANKFACED MAN. Last seen tracking Sam at the cafe in Istanbul. BLANK-FACED MAN (in Dutch) Dr Goebel? GOEBEL How did you get in here? The Blank-Faced Man approaches. Uncapping a HYPODERMIC NEEDLE behind his back. * *

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BLANK-FACED MAN Im afraid theres been a terrible accident. GOEBEL An accident? Is it my son? BLANK-FACED MAN No. Its you. Very fast -- the Blank-Faced Mans arm on Goebels throat -pulls him close -- in a chokehold. Goebel RED-FACED as -Blank-Faced Man brings the NEEDLE TO HIS EYE -- Goebel sees it -- struggles like mad -- veins bulging -- feet KICKING -unable to escape, as -- the NEEDLE IS PLUNGED INTO HIS EYE. TIME CUT TO: 105 106 NO SCENE 105 INT. WATER PROCESSING STATION - OFFICE - DAY 11 - 11.47 (For potential use as a flashback in Episode 8) The Blank-Faced Man enters. Picks up -THE BLACK CASE The Blank-Faced Man lays it flat. UNSNAPS it. We cant see its contents, but whatevers inside, it makes him pause. He considers its contents, then snaps it shut. Exiting -CUT TO: 107 INT. TURNER TOWNHOUSE - DAY 11 - 13.03 A Security Man opens the front door, revealing Sam/Alex, holding her bags. 107 105 106

* * * * * * * *

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Stephen and Edward are waiting. Further back is Mrs Sidwa. Sam/Alex looks so tentative, but Stephen smiles. STEPHEN You came. Im so pleased. Sam/Alex looks so shy, uncertain. Then she smiles at Edward. SAM/ALEX Hello, Eddie. EDWARD Have you come to stay for a bit? SAM/ALEX For a bit. Edward nods, seems pleased at that. Stephen watching his son connecting with this woman with a sense of wonder. STEPHEN Your rooms on the 2nd floor across from Eddies. SAM/ALEX (smiles at Edward) Perfect. STEPHEN Mrs Sidwa will take you up. Sam/Alex nods, Mrs Sidwa gestures for Sam/Alex to come with her. She goes with Edward. Stephen watches... then, as if he feels eyes on him, looks behind him -From Jacks office, staring back at him, is his father. He nods, beckoning. You. Come here. CUT TO: 108 INT. TURNER TOWNHOUSE - JACKS OFFICE - DAY 11 - 13.21 Stephen enters. STEPHEN You wanted to see me? Jack turns to him. JACK Whats the matter with you? You lost your marbles or something? STEPHEN If she hadnt done what she did -108

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JACK (over) So drop a couple of grand on her, thank you very much, goodbye.

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STEPHEN Eddie asked after her, Dad. He actually asked after her. Shes the first person, the first... anything hes shown interest in since Becky died. JACK A stranger. In this house -STEPHEN Bingham checked her out. Itll be good for Eddie having her here. JACK What the hell you know about bringing up a kid? STEPHEN About as much as you. Screaming silence for a moment. JACK I did my best. STEPHEN Well, Im going to do better. My first born isnt going to end up gutted with his dick cut off. Jack blinks. That hurt. Another moment of shrieking silence. JACK Get rid of her, Stevie. Stephen turns on his heel and walks out. Stay with Jack Turner and just for a second, the tyrannical old bastard looks completely alone, the ruler of an arid kingdom... CUT TO: 109 SCENE 109 CUT 109

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110

EXT. COMMERCIAL BUILDING - DAY 11 - 14.05 A nondescript building, around the corner from the Turner townhouse, blinds drawn on the first-floor windows.

110

111

INT. SURVEILLANCE POST - DAY 11 - 14.06

111

Zoe, Crane, Fowkes, Hasan, Aidan. Zoe setting up banks of screens, computers, etc., showing outside the Turner house, front and back. Fowkes has the kettle boiling and looks through the fridge and cupboards. Disappointed. FOWKES Not even biscuits. (finds milk) (MORE)

NEMESIS Episode 1 "Mort" 3.2.12 GOLDENROD AMENDMENTS 56 FOWKES (CONT'D) And UHT? I hate UHT. Its got that chalky aftertaste. Makes me gag.

Hasan rocks back and forth on two legs of a chair. Hostile eyes fixed on Aidan. Who stares back at him long enough to let him know the feelings mutual. FOWKES (CONTD) (reading the label) Ultra-pasteurized. Is it just me thats bothered? We could be here weeks drinking this, all of us getting that chalky aftertaste. ZOE Shut up, Fowkes. FOWKES (shuts the fridge) The reason I left the Forces was so I didnt have to keep drinking this shit -HASAN I thought it was because they threw you out. FOWKES Yeah, bring that up, why dont you. Thats very painful to me, you know. Youre causing me pain. Aidan speaks low to Crane. AIDAN (re: Hasan) Whys he on this anyway? CRANE (shrugs) Keel wanted him. AIDAN You trust him? CRANE Hell, I dont trust you. Crane crosses to Zoe. Fowkes calls to him. FOWKES Can I go and get some proper milk?

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CRANE No. No one leaves unless specifically ordered. (low, meaning Sam) Did you talk to her? Did she tell you anything? About where shed been? Anything at all? ZOE (shakes head) Why would she talk to me? CRANE Youre a woman. You tell each other things. ZOE (mock amazed) Im a woman? (indicates her breasts) Shit! I wondered what these were doing here! CRANE Funny. CUT TO: 112 INT. TURNER TOWNHOUSE - DAY 11 - 14.58 112

Sam leaves the bedroom, carrying the SMALL BAG with the video eyes Aidan gave her. On the ground floor, she sees Bingham talking to a Security Man. ANGLE - UNDER THE STAIRS Sam moves behind Bingham and the Security Man, unnoticed. Entering -CUT TO: 113 INT. TURNER TOWNHOUSE - LIBRARY - DAY 11 - 14.58 Sam slips inside, careful not to disturb the open doors. Binghams voice distant beyond. Moving quickly, she opens the bag, takes out a VIDEO EYE and BATTERY PACK. Then moves about the room. Discreetly placing the first of the lenses. Then the second. When -STEPHEN Enters, Sam caught off-guard. She manages to flatten herself against the side of a bookcase. As -113

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Stephen heads to the bar. Pours a whisky. Trembling from his talk with his father. He faces a mirror -- Sam exposed in the reflection. If he looked up, hed see her. Which hes about to do, when --

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BINGHAM Sir. Stephen turns. Bingham at the door.

BINGHAM (CONTD) The KPEK documents have arrived. Your father would like you to review them. Stephen follows Bingham out. Sam lets herself exhale. Sets the last of the video eyes in place. As she slides out, unnoticed -CUT TO: 114 INT. SURVEILLANCE POST - DAY 11 - 14.59 114

Crane, Zoe, Fowkes and Hasan. Zoe looks up from her computer, turns to Crane. ZOE Goebels arriving on a Lufthansa flight into City in 45 minutes. CRANE Alright. Hasan, go to City Airport, watch for Goebel. HASAN (meaning Fowkes) Why cant he go? CRANE Im ordering you. Fowkes smiles at Hasan, enjoying his victory. HASAN Howm I supposed to recognise him? ZOE Ill send you his SIM data. Just track him when he comes online. CRANE And watch for anyone tailing him. Hasan nods. Gets ready to go --

ZOE And were up. The team gather round a monitor. The Turner library, courtesy of Sam.

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FOWKES Shes good alright. Seeing Hasans about to go -FOWKES (CONTD) Hasan, nip in the shop for us. Pick up a few things. Hasan just glares at him. Fowkes tuts again. The others at the monitor seeing -ANGLE - MONITOR OF TURNER LIBRARY Jack enters. ZOE And here he is. Hello, you old bastard... CUT TO: 115 INT. TURNER TOWNHOUSE - ENTRY - NIGHT 11 - 18.15 115

A PHONE rings. Picked up by... Bingham. We only hear his side of the line. BINGHAM (into the receiver) Yes. Thats right. Where? (beat) Who is this? The line goes dead. Off Bingham, thinking -CUT TO: 116 INT. TURNER TOWNHOUSE - LIBRARY - NIGHT 11 - 18.16 Jack enters. Turned by -BINGHAM (at the door behind) Sir. JACK What is it, Bingham? BINGHAM I have some good news. CUT TO: 116

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117

INT. SURVEILLANCE POST - NIGHT 11 - 18.16

117

Zoe, Fowkes and Crane stand over the monitor, watching Jack in the library as Bingham enters, speaks to him.

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ZOE Shit, scramblers are killing the audio... But we can see that Jack goes very still, very intent, and then is very clearly giving an order, Get that fucker back here. Bingham responding, calmly, Its already in hand. Jack keyed up... Zoe frowns. ZOE (CONTD) Somethings going on... CUT TO: 118 INT. TURNER TOWNHOUSE - EDWARDS ROOM - NIGHT 11 - 20.56 118 Edward is in bed. Sam/Alex enters, sits on the blanket. SAM/ALEX Ready for bed? Edward nods. Sam/Alex sees a stack of books. SAM/ALEX (CONTD) Would you like me to read you a story? EDWARD My mummy read them all to me. Shes not alive anymore. SAM/ALEX I know. Im sorry. EDWARD Dad says that you had a family. SAM/ALEX I did. EDWARD And they died, too. SAM/ALEX They did. A little moment. Edwards searching look on her and Sam looks away because, actually, these lies are like ashes in her mouth. Edward thinks shes upset. EDWARD You know tomorrow morning? For your breakfast, weve got every cereal. Whatevers your favourite, weve probably got it. If we havent, Mrs Sidwa could get it for you.

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SAM/ALEX I like most things. I tell you what, Ill have the same as you. EDWARD OK. See you tomorrow morning. SAM/ALEX Goodnight Eddie. Sleep tight. EDWARD Dont let the bed bugs bite. He lies down, Sam snaps the bedside light off. A night light glowing in the room, she looks down at Edward, just a kid mixed up in all this shit, a vulnerable kid being used. A surge of genuine protectiveness. Then she leaves quietly... CUT TO: 119 EXT. LONDON STREETS - NIGHT 11 - 21.04 119

Dark back streets, Hasans clearly chosen some back route to get to City. Hasans car waits at a red light. The streets are very quiet, when -THE GLASS SHATTERS. Hasans door pulled open, his BODY DRAGGED onto the pavement. A DARK-SKINNED MAN HITS HIM IN THE FACE, blood spurts -- the Mans wearing knuckle dusters -Hasan doesnt stand a chance. The Dark-Skinned Man and another MAN drag him to a VAN. Tyres screeching, they drive off, leaving -- Hasans car, still IDLING at the traffic light. A plastic GROCERY BAG has tumbled to the ground, outside his open door. Inside is a ruptured carton of PROPER MILK, spilling onto the street... CUT TO: 120 INT. TURNER TOWNHOUSE - KITCHEN - NIGHT 11 - 21.08 120

Wine, etc... Stephen is getting cheese, bread, putting it on the table. Sam enters. Passes her a glass and raises his. STEPHEN Is Eddie sleeping? SAM/ALEX Yes. STEPHEN Thank you again. Heres to you, Miss Kent.

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SAM/ALEX Its Alex. Call me Alex. STEPHEN Alex. Stephen meets her eyes. The brief stirring of an attraction for her. A SECURITY GUARD comes in. SECURITY GUARD Mr. Turner? Hes arrived. STEPHEN (to Alex) Would you excuse me for a moment? Sam/Alex smiles. Through the open door, she sees Stephen cross the gleaming hall to a MAN whose back is turned to us. STEPHEN (CONTD) Doctor, so pleased you could make it. Mind working, Sam sets down her glass -121 INT. TURNER TOWNHOUSE - ENTRY - NIGHT 11 - 21.08 Stephen turns to Sam, exiting the kitchen. STEPHEN Miss Kent, Dr. Horst Goebel. Only its not Goebel, of course. Its -THE BLANK-FACED MAN CASE in hand. He bows at Sam, recognizing her from her photo. BLANK-FACED MAN Miss Kent. CUT TO BLACK THE END 121

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APPENDIX A - TRANSLATIONS Scene 4 INT. MERCEDES TOWN CAR - MOVING - DAY 2 Mud-coloured streets drift by. The Woman stares out the window, caked by dust. We'll come to know her as SAM. MANS VOICE a va ? BERNARD FAROUX, 40s, tailored clothes, puts a hand on hers. He's the Man from the hotel, seated beside her. A chauffeur at the wheel. SAM Je suis juste pensive. FAROUX A propos de quoi? Sam smiles, enigmatic. Squeezes his hand. Scene 6 INT. MERCEDES TOWN CAR - DAY 2 - CONTINUOUS Sam turns to Faroux. SAM On s'arrte? FAROUX Jai une petite affaire rgler avant d'aller l'aroport. BODYGUARDS from the lead town car open the door. FAROUX (CONTD) a te drange d'attendre ici ? She glances outside. Manages a tight nod. SAM Non. Her discomfort poorly masked. He smiles, offers his hand. FAROUX Aller vient. Sam, relieved, climbs out. Clutching a SMALL PURSE. Scene 9

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INT. THEATRE - BASEMENT - DAY 2 Faroux pulls open the gate, both of them exiting. More bare bulbs in the darkness. Faroux turns to Sam. FAROUX (CONTD) Attend ici. She watches him approach a wall of bars. Pull out the MAGNETIC KEY CARD we saw before. A barred DOOR clicks open. Faroux walks down a long dark hall. Sam steps forward. Faroux reaches a door, opens it. Sam just able to glimpse -A BESPECTACLED MAN, 40s, bound to a chair inside a SMALL ROOM. He's soaked in sweat, head slumped, shirt streaked with BLOOD. Faroux closes the door behind him. Sam frowns. Sam waits on a bench, looking troubled. Rising as Faroux returns, unlocks the gate, smiles reassuringly -FAROUX (CONTD) Je tavais dis que ce serait court. He takes her hand and they go back to the lift. We see she's left her SMALL PURSE on the bench. Scene 14 INT. THEATRE - DAY 2 Chief Guard looks up, seeing Sam re-enter from the stairs. She's all flustered, but looks just as she did before. WOMAN Excusez moi mais j'ai oubli mon sac a main en bas et il y a mon passeport et tout le reste dedans! Vous voulez bien m'aider? Bernard est furieux. The Chief Guard leads her toward the lift. Sam gabbles like she really is just some dizzy mistress. WOMAN (CONTD) Oh, merci beaucoup. Je suis tte en lair Sam feels the gaze of the Dark-Haired Guard again. Does he suspect her? Sam enters the lift with a MIDDLE-AGED GUARD. Scene 18

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INT. MERCEDES TOWN CAR - MOVING - DAY 2

Faroux stares ahead, wipes his mouth. Something's wrong. The blood tastes strange. Sweet. Faroux frowns. Mind racing. He reaches in his pocket. The magnetic key is GONE. Then -- he REALIZES -- SHOUTS. FAROUX Faites demi-tour! Maintenant! The town cars TURN AROUND -- TYRES SPINNING on pavement. As * a Bodyguard jabs numbers into his MOBILE -Scene 27 INT. THEATRE - UPPER FLOOR - DAY 2 - CONTINUOUS The Chief Guard, Faroux and the Guards arrive from the second stairs. Intercepting THE DARK-HAIRED GUARD/AIDAN Leading Hill in cuffs. As if under arrest. FAROUX (CONTD) Et la femme? DARK-HAIRED GUARD/AIDAN Je ne l'ai pas vue. Faroux turns to the Chief Guard -FAROUX Tous les deux. Ramenez le en bas. Scene 37 INT. CAFE KAHLIL - DAY 2 SAM Da -- da war ein Mensch. Ich versteckte mich. Es war schrecklich -APPENDIX B - POCKET DIALOGUE Scene 81 INT. CAFE KAHLIL - DAY 2 BOOTS walk past the dead bodies. We RISE UP to a face well remember -- smooth, round, almost featureless. Well call him the BLANK-FACED MAN.

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He asks the Bartender questions. He could be a cop. Maybe he just acts like one. BLANK-FACED MAN (in Arabic) Can you tell me what she looked like? BARTENDER A very pretty lady. Brown hair. In her 30s, I think. BLANK-FACED MAN And she asked you to get the police? BARTENDER Yes. I did. They were just down the road. Waiting. BLANK-FACED MAN But they shot her -BARTENDER Yes. Then she shot them. Blank-Faced Man picks up a GUN from the floor with a rag. BLANK-FACED MAN Thank you. Youve been very helpful. Then LEAVES.