EXTERIOR: FOREST-TURKEY-EVENING.

We are high above a dense forest in the far north of TURKEY, near to the Russian/Cacacus border; its tall trees are sheathed in heavy snow.

In the half light two figures stumble through the woods, their heavy breathing sounding like thunder. In the background we can hear the sound of other men climbing into the woods.

EXTERIOR: ROAD EVENING.

Three cars are parked by a bend in the road. A second group of 4 men, also dressed in dark clothes, is climbing up toward the trees. Behind the cars is a tall man with binoculars looking up at the tree line.

EXTERIOR: FOREST EVENING.

We can now see that the fugitives struggling through the snow are both around 60 years old.

BENSON

It’s not far now.

As the two figures break out of the wood-line they emerge onto a long slope.

The two men stop for a moment, as if to catch breadth, and then press on doggedly. Suddenly there is an explosion. A shell lands by the men and a plume of flame shoots up into the sky showering snow everywhere. One of the men is knocked over by the blast. The second man, more elderly than the first, helps him up and they struggle on.

In the distance we can see the flashes of small arms fire, the movement of tanks, armoured cars and men on military manoeuvres. The two old men have walked right into an army firing range.

EXTERIOR FORREST EVENING.

The two groups of men chasing the fugitives are getting closer; they fan out as they reach the tree-line. In the distance the sound of explosions is now much more frequent.

EXTERIOR SAME.

The men chasing seem to be racing against each other, as though they were totally different groups there for different reasons. STAFFORD, a fit young man of about 30, dressed in dark winter ski clothes and a parka, obviously the leader, runs ahead toward the sound of the explosions, binoculars hanging from his neck.

STAFFORD halts by the edge of the wood. He can see the army manoeuvres through his binoculars, the firing becomes more intense. STAFFORD shouts a warning in English:

STAFFORD

Stop, it’s a firing range.

The two old men are still trying to escape across the range.

EXTERIOR FORREST TURKEY-EVENING.

The two men stop.

STAFFORD’s POV: The old men seem to be arguing about something; one turns back toward STAFFORD.

The second man draws an automatic pistol and shouts at the other man who is now clearly moving back towards the tree line.

The shout is lost in the roar of explosions.

The first man keeps trying to climb back toward the trees. The second man raises his gun and shoots the other in the back.

He falls forward onto the snow. The second man picks up the rucksack he turns to face STAFFORD'S men weapon outstretched. Then he crumbles backward.

From above the bodies appear as dark insect figures against the white of the snow.

EXTERIOR FORREST EVENING.

STAFFORD scrambles across to kneel down by the body of the first man. Other members of the team fan out behind him. They have pistols in their hands.

STAFFORD unfolds the dead man’s clenched hand and something white falls away.

EXTERIOR FORREST EVENING.

An armoured personnel carrier grinds to a halt by the two bodies and disgorges soldiers clad in white ‘winter camouflage’ uniforms.

Immediately they take up positions surrounding the men on the ground.

EXTERIOR SAME.

The soldiers and the armed men stand facing each other in silence. One of STAFFORD’s men moves slightly, The Turkish soldiers cock their weapons.

The evening light is fading.

EXTERIOR FORREST NIGHT.

A helicopter circles overhead, its search-lamps sweeping the snow.

In its beam we can see STAFFORD’s men raise their hands in surrender as Turkish soldiers level their weapons.

EXTERIOR LONDON DAY.

A faceless glass and concrete ‘Ministry’ building, somewhere in London.

Subtitle: London

INTERIOR OFFICE DAY.

A long boardroom like table dominates the panelled room.

Arranged around it are a small group of 5 men aged between 30 and 60. Each is well dressed and one is in military uniform. Their accents indicate that they are a mixed group of English & Americans.

STAFFORD, the youngest, is sitting at one end with the other four facing him. Clearly this is some kind of interrogation.

The four men have been arguing among themselves: they ignore STAFFORD.

With a curt nod STAFFORD is ordered out of the room.

INTERIOR CORRIDOR DAY.

As the door is closed behind STAFFORD we catch a glimpse of one of the Americans; we can only hear what STAFFORD hears, a fragment of conversation.

There is a note of regret in the harsh American voice

VOICE

The Aston Case’ is closed. It was a failure of course, after 30 long years.

The door closes abruptly cutting STAFFORD off. He stands alone looking out over the grey London Skyline.

Credits

EXTERIOR STREET BAGDHAD

Grainy Pictures of the Iraqi army fill the screen, Sadamm parades before a cheering crowd who fire AK47 wildly into the air.

As we pull back we realise that this is a T.V newsreel. The picture changes to the US Secretary of State.

SECRETARY of STATE

There is little time, very little time, either Iraq complies with the UN or it will suffer the consequences. We will not be held to ransom by a tyrant with chemical-biological weapons of mass destruction.

The T.V is in a clinical laboratory. A tall man wearing a

white coat and surgical mask is watching intently; he switches the news off and pulls down the mask, it's George Aston. He turns back to a computer controlled centrifuge.

INTERIOR LABORATORY- DAY.

A modern, well-equipped university laboratory: it has the cluttered ‘worked in look’ common to all universities the world over.

There are a number of workbenches toped with computers and a small centrifuge.

There are several scientists in white coats and surgical masks working at different tasks.

INTERIOR SEALED COMPARTMENT- DAY.

Inside a glass cubicle a heavily masked woman is operating metal clamps by remote control in an isolation unit. With great care she is transferring bacterial cultures into a petri-dish.

She places the cultures inside a centrifuge; it starts to whirr and spin.

INTERIOR LAB COMPUTER SCREEN –DAY.

We can see a computer simulation of the bacteria as they start to multiply rapidly. The patterns of the matrix look almost beautiful.

The scientists stare awed; then their concentration is broken by the sound of a printer clattering out a long printout.

The young woman sits back and takes off her surgical mask. This is Penny Aston: a pretty girl in her late 20s.

She shuts down the computer and places the spent culture in an incinerator. The incinerator explodes into flame.

INTERIOR OFFICE – DAY.

Penny goes to her room; it’s small and untidy with books and papers strewn across her desk.

The telephone rings.

PENNY

Five minutes: exactly. Love you too.

She takes off her coat. Underneath her clothes are very stylish, far better and more expensive than those of the average run of young female scientists working in university laboratories.

She straitens her makeup; this is a special gesture and she smiles at herself in the mirror.

INTERIOR CORRIDOR - DAY.

Penny is carrying a large bag as she walks down the corridor. She can hear loud, coming from behind a door marked ‘Prof. Lumsden Director’.

Without knocking Penny opens the door.

INTERIOR LUMSDEN’S OFFICE - DAY.

Prof. Lumdsen’s office is larger and tidier. Lumsden, a man of about 35, dressed in old unfashionable clothes, is sitting behind a large desk large desk. He is arguing with somebody.

VOICE

We don’t have the luxury of time. The facility must be fully operational, regardless of risk.

LUMSDEN

But!

VOICE

But nothing! If you have a problem deal with it, because if you can’t I will.

Lumsden is beginning to wilt under the other man’s relentless pressure.

LUMSDEN

Yes, Yes I suppose…

Penny pokes her head through the door.

VOICE

I don’t care what you suppose, just do it!

The conversation stops immediately.

PENNY

Richard I’m off, see you Monday.

Lumsden nods vaguely at her.

LUMSDEN (nervous)

Penny we have to talk.

PENNY

Monday!

We catch a glimpse of the second person in the room; a tall well dressed American in his 50s, his face is in shadow and it’s difficult to see him clearly. The impression he leaves is slightly sinister.

INTERIOR FOYER UCL – DAY.

Malcolm STAFFORD, Penny’s fiancé, is waiting in the open plan foyer reading a copy of the economist.

Penny hurries toward him.

He looks at his watch, then holds up his fingers. Penny smiles sweetly. As they greet each other it should be obvious that they are in love.

STAFFORD

Funny five minutes.

Penny silences him with a touch of her fingers. They kiss passionately.

STAFFORD drops the economist.

EXTERIOR ROAD - DAY.

Penny and STAFFORD are laughing as they drive down narrow country roads in STAFFORD’s late model Rover.

PENNY

I wish you’d get a better car!

STAFFORD

Better?

PENNY

Faster!

Abruptly they turn off the main road toward a big mansion house, screened by trees and set well back in its own grounds.

EXTERIOR ASTON’S MANSION – DAY.

STAFFORD stops the car on the drive in front of the house.

Everything about the house exudes discrete wealth.

There are expensive cars, a silver Porsche and a Rolls Royce in the driveway. Near the main house there are stables, a private tennis court and swimming pool.

STAFFORD jumps out of the car and takes their suitcases out of the boot.

Penny smiles and indicates the tall butler, who has just opened the main doors.

STAFFORD laughs as he ostentatiously heaves the suitcases toward the house.

STAFFORD (Sarcastically)

I’m marrying you, not your father: or Benson.

Benson, the Butler, is dressed in full black tie rig. He is a big man with a smashed face: it is as if, at some point in his life, he had been beaten very badly and he resembles a punched out ex boxer gone to seed.

However, Benson has at one time been well educated since the most noticeable thing about him is a gentleness of manner and a cultured voice.

Benson takes the bags from STAFFORD with a practised elegance, the perfect servant.

BENSON smiles to himself: amused by this display of obvious class angst.

BENSON

Thank you sir.

EXTERIOR ASTON’S HOUSE - DAY.

Penny’s Father George Aston is out on the tennis court. He and Gillian, Penny’s younger sister, are playing an aggressive game. The ball flies back and forth, Gillian wins the point and the game. Aston looks crestfallen, but then he smiles and hugs his daughter.

They turn to greet Penny and STAFFORD.

Aston is a handsome, dark haired, very fit man of about 55, even in tennis clothes he looks impressive. He has a vague eastern look about him as if he is of mixed blood. He has traces of an American accent, overlaid with years of living in Home Counties. The impression he leaves is of a successful man, who likes to be in charge.

ASTON

Penn darling, Malcolm, you’re just in time, drinks: on the lawn in five inutes.

Laughing they walk arm in arm to the house, with Gillian swinging her racquet as they go.

EXTERIOR GARDEN – DAY.

Aston, STAFFORD, Gillian and Penny are seated around a garden table. The atmosphere is relaxed and informal.

The ubiquitous Benson appears as if by magic carrying a tray of drinks.

ASTON

I know going public is difficult, but it will simplify things enormously.

STAFFORD

It’s not the best time; the market’s weak.

ASTON

I’d like to keep things tidy for the girls.

STAFFORD

GM scares to the contrary, it should be very successful for you personally.

ASTON

I don’t do GM. Bio tech, catalysts, special medicines, organo-plastic derivatives: making plastics more efficient. They’re only a waste product from petrochemicals, nothing glamorous, just lucrative.

STAFFORD

As it stands, you’re your own boss. A quoted company means there are other pressures.

ASTON

I’ve thought about it.

Despite his easy affability, it is obvious that Aston is preoccupied with something.

ASTON (looking at STAFFORD)

I might retire; I’d need a general manager.

PENNY

Daddy, are you trying to bribe my future husband?

ASTON

Naturally!

STAFFORD

I’m perfectly bribe-able.

GILLIAN

Oh don’t be so mean to Malcolm.

STAFFORD

I’m only an economic consultant, a mere imp of Satan, not one of his chief disciples – I do technology transfer. I don’t know how to run a business actually.

ASTON

It’s not so hard. After a certain size it runs itself.

STAFFORD

Maybe, but I don’t think my boss would let me go.

ASTON (laughing)

Oh!

STAFFORD

He’s got Victorian values: slave driving.

The girls laugh. Benson and Mrs. Purvey, the maid, serve a late lunch on the lawn.

The impression is of a life that's rich, middle class & normal to the point of absurdity.

INTERIOR HOUSE -EVENING.

Aston, Penny and STAFFORD are in the sitting room

Gillian comes in wearing a long coat and a hat, which is very similar to the one Penny wore coming down in the car.

PENNY

Is that my hat?

Gillian nods enthusiastically.

GILLIAN

I’m off to church.

She kisses Penny and her father and smiles at STAFFORD as she swans out the door.

PENNY (aggrieved)

She’s always doing that.

Aston arches his eyebrows.

ASTON

I think she’s keen on the new vicar.

Aston gets up to go into his study.

PENNY

Pinching my clothes.

STAFFORD and Penny lie in each other’s arms.

PENNY (giggling)

Sisters are very close. They do lots of funny things, like borrow each other’s knickers.

STAFFORD

No bloke ever does that.

PENNY

Sisters do far worse things.

STAFFORD

Like what?

PENNY

Steal each other’s boyfriends.

STAFFORD

Is she supposed to be after me then, or are you after the vicar.

Penny sticks out her tongue. STAFFORD wrestles her into a kiss.

EXTERIOR HOUSE - EVENING.

There are shadows on the house as Benson parks Gillian’s silver Porsche in front of the door.

Gillian waves goodbye to him and drives off.

EXTERIOR ROAD - EVENING.

A nondescript Ford saloon is parked in a side road. Gillian’s big Porsche roars past on the other-side of the road. We can see the driver turn his head to follow her.

INTERIOR LIBRARY –EVENING.

STAFFORD is in the spacious library watching the news, the Russians are demolishing Chechynia. STAFFORD turns off the T.V in disgust and then he steps out onto the patio lawn. He looks out at the gardens laid out before him but his reverie is disturbed by the sound of raised voices.

EXTERIOR LAWN – EVENING.

A window is open just above him. Penny & Aston are having a discussion.

STAFFORD stops still, so as not to be seen.

PENNY

I’ll have to go to the island and see for myself. they don’t have P4, what if there's an accident?

ASTON

You have to do what you think is right.

PENNY

Half of me want’s just to let the whole lot of them go straight to hell, but I can’t do that. Lumsden's seeing me on Monday then I’ll decide.

ASHTON

Moscow grinds Grozney beneath its heel and the American's threaten Sadamm. Fanatics plunge jets into tall buildings and suicide bombers kill Jews and Israel levels whole toms in revenge. They talk of war on terror but they have no notion of what it really is.

Suddenly the argument is muffled by the sound of the window being shut.

There is a noise from inside the library.

STAFFORD steps back inside.

Benson has just come in to clear away the remains of drinks. He has something like a medal in his hand; twisting it in his fingers, quickly he puts it away in his pocket.

STAFFORD looks at a picture of Penny and Gillian as teenagers.

BENSON

They were very pretty little girls.

INTERIOR CHURCH - EVENING.

Prayers are finished and the congregation file out, each parishioner say’s goodbye to the vicar.

VICAR

Goodnight Miss Aston!

Gillian smiles at the vicar and slides into her Porsche.

EXTERIOR ROAD –EVENING.

Gillian is driving back from church when she sees a body lying in the road; blocking the entrance to the estate.

She slows down and gets out of her car.

The body is a scarecrow that’s fallen across the road.

Gillian sighs in relief, suddenly a dark figure leaps out of the bushes and throws something at her face.

She screams

INTERIOR LIBRARY –EVENING.

Penny and STAFFORD are sitting on a sofa holding hands, when they hear the scream.

STAFFORD

Christ, what was that?

Penny and STAFFORD rush out into the garden to find Benson is already outside: the screaming is very distinct now.

Aston comes running out.

BENSON

It’s coming from down by the gate.

Aston, Benson, Penny and STAFFORD hurry toward the sound of the screaming.

EXTERIOR ROAD – EVENING.

The Ford saloon reverses sharply across the lawn scoring the grass.

EXTERIOR LAWN –EVENING.

Gillian is kneeling with her hands covering her eyes; her moans of agony are terrifying.

ASTON

Oh God!

Penny kneels beside her. She pulls Gillian’s hands away for a second; she gasps.

PENNY

Ring for an ambulance.

ASTON

What?

He reaches down to touch his daughter. Penny puts her hand on his.

PENNY

Don’t touch her daddy. Please! Somebody’s thrown acid in Gilly’s face.

STAFFORD pulls out his mobile phone.

STAFFORD

I want an ambulance, now, the Mannor House, Weyton. There’s been an acid attack; get the police as well.

Shocked, Aston stares down at his daughter, then he cradles her in his arms.

Aston carries a still screaming Gillian back to the house while Penny comforts her father.

EXTERIOR GARDENS - EVENING.

STAFFORD motions a shocked Benson back for a moment.

STAFFORD

We need to look around; whoever did this might still be here.

Benson agrees, together they look about the grounds.

BENSON

See this.

Benson points to a set of skid marks on the lawn.

There are deep tire tracks, deep enough to take a cast from. STAFFORD looks at them thoughtfully.

STAFFORD

Cover them for the police.

BENSON

There is a tarpaulin and bricks in the garage.

Exterior House - Evening.

The Ambulance pulls up beside the house, it lights flashing but without its sirens.

INTERIOR KITCHEN – EVENING.

Penny has Gillian in the Kitchen bathing her eyes.

The ambulance men come through with a stretcher.

AMBULANCE MAN (looking at Gillian’s eyes)

Battery acid, you can get it anywhere.

The attendants put Gillian on a stretcher into the back of the ambulance. Penny and Aston look on.

STAFFORD holds open the door.

Through the library door STAFFORD sees Benson calling someone on the telephone; Penny distracts his attention.

PENNY

I’ll go in the ambulance.

ASTON(holding himself together)

Benson will drive me to the hospital.

Benson comes out of the library and straight out to the Rolls. Aston has already opened the back door, he looks back expectantly at STAFFORD.

STAFFORD

The police will be here soon; I’d better stay and wait for them.

ASTON

Yes, I hadn’t thought.

STAFFORD watches as the big Rolls Royce follows the ambulance out of the drive.

A police car passes it in the drive.

INTERIOR-HALL-NIGHT.

STAFFORD opens the door. Inspector SWANSON is a man of about 30, dressed in designer style jeans and jacket. He produces his warrant card.

SWANSON

CID there has been an attack, Mr. Aston?

STAFFORD.

I’m not Aston.

He leads SWANSON into the library.

SWANSON (A slight edge in his voice)

Now Mr..

STAFFORD

STAFFORD, Malcolm STAFFORD.

STAFFORD hands SWANSON an identity card.

SWANSON

I haven’t seen one of these in a while. You know I’ll have to check with PNC.

STAFFORD points at the telephone extension.

STAFFORD

PNC.

SWANSON shakes his head and produces his mobile phone.

SWANSON

Police National Computer…. I have identity card no CXT 9507 Q039. Yes, designation Red Guard I repeat Red Guard.

SWANSON waits while the computer checks STAFFORD’s identity.

He looks closely at STAFFORD.

SWANSON

Yes. Thank you.

STAFFORD (quizzically)

Red Guard?

SWANSON (grinning)

PNC isn’t entirely lacking a sense of humour! So what are you doing here sir?

STAFFORD

I want to marry Aston’s daughter.

SWANSON (surprised)

The victim.

STAFFORD

Her sister, it’s just a fluke that I’m even here. Everybody else is at the hospital.

SWANSON

That makes things awkward sir.

STAFFORD

Forget the sir. Gillian Aston went to church about 6pm and then about an hour later we heard the scream. We all went out to the garden and found her.

STAFFORD picks up the torch from the table.

STAFFORD

I think you should come and see this.

EXTERIOR DRIVEWAY – NIGHT.

STAFFORD shines the torch onto the tyre tracks. SWANSON kneels down and examines them carefully.

SWANSON

They waited here some time. The back impression is very deep.

He points the torch closer at the ground.

SWANSON

You can see that he, or she, got out, the grass is still squashed. Probably flat-soled shoes; I can’t find any heel marks. Then they ran into the road to do it. Where did you say you found her?

STAFFORD points further into the park. SWANSON goes to Gillian’s Porsche. He shines the torch underneath illuminating the scarecrow.

SWANSON

That’s how the car was stopped.

The Rolls drives through the gateway bringing Aston & Benson back from the hospital. SWANSON and STAFFORD walk back to the house.

STAFFORD

She, you said he or she.

SWANSON

Acid isn’t usually a man’s crime.

They walk into the house in silence.

INTERIOR LIBRARY –EVENING.

Aston is drinking heavily in the library. He is still in a state of shock.

SWANSON

If there's nothing more you can add sir, I’ll be off. I’ll send a forensic team here to look at the lawn in the morning.

Benson shows SWANSON out. Once he and Stafford are alone Aston blurts.

ASTON (urgently)

Malcolm, will you marry Penny?

STAFFORD

Now?

ASTON (almost pleading)

Yes, tomorrow. I can get a special licence. I’ve a factory in Australia. There’s a position, General Manager, you can do it, please say yes.

STAFFORD

George it’s not that easy. Penny can’t give up her job just like that.

ASTON

She might, if you ask her.

STAFFORD

I can’t give up mine. Besides I don’t know if she would want to leave now. Gillian needs her.

ASTON

But that’s the point…

Benson enters with a tray of whisky. Aston is unwilling to say anymore.

STAFFORD

I’ll go and see Penny.

Benson nods to STAFFORD. There is something different about the Butler, more authoritative. He pours two glasses and STAFFORD leaves them alone in the library: drinking like old comrades.

INTERIOR HOSPITAL –EVENING.

Through the double doors of the hospital wing STAFFORD can see Penny sitting by Gillian’s bed.

He comes in to sit beside her, they kiss and sit arm in arm as tears stream down Penny’s face.

INTERIOR – HOSPITAL WARD MORNING.

STAFFORD is lying asleep in the chair beside Gillain’s bed when Penny bursts she shakes him awake.

PENNY

Malcolm, Malcolm, wake up; for god’s sake wake up.

Groggily he opens his eyes.

STAFFORD

Darling?

PENNY

Daddy’s disappeared.

STAFFORD

What?

PENNY

Daddy’s disappeared, he’s packed his bags and gone. Him and Benson, they’ve both gone.

STAFFORD

Gone where, when?

PENNY

I don’t know, sometime last night. I went home for a shower and I found this.

She gives him a letter. Wearily he tries to read it. It’s in Aston’s handwriting:

My dearest Penny, I must go away for a while, my reason’s are not bad, but they are necessary. It pains me to leave, but I know you’ll look after Gilly. My business affairs are in order, so you need not worry. Please don’t try to find me, any search will be fruitless. Besides my old friend Benson is with me.

Your loving father.

PS: Marry Malcolm soon, he’s a good man.

PENNY

What are we going to do?

STAFFORD

I don’t know.

EXTERIOR OFFICE BUILDING – DAY.

STAFFORD enters his office building, the security is not obvious, but it is there, two discreetly armed men by the front desk and a battery of almost invisible CCTV cameras.

STAFFORD quickly jumps into a lift.

INTERIOR OFFICE – DAY.

STAFFORD’s office is functional but there are a couple of personal touches. A framed print of a redheaded woman by Gustav Klimt hangs on the wall alongside a Japanese scroll.

There is a second desk in the room. George MICHAELIS, a trendy young man of about 23, is reading a Russian pamphlet about computers. He looks up at STAFFORD:

MICHAELIS

Judas Malcolm, you look like death!

STAFFORD struggles into his chair.

STAFFORD

You try sleeping in a hospital chair. (stretching) All I need is Toothless Tony to come on strong and life will be perfect.

MICHAELIS

He was on the war-path this morning: something about a breech of security.

STAFFORD

What’s he talking about! Some tart jumped Prince William?

MICHAELIS

An operative exposed themselves to the boys in blue over the weekend.

He fiddles in his desk and pulls out an electric razor.

STAFFORD

Exposed, you make it sound as if I was cottaging in a public loo.

MICHAELIS (grinning)

So it was you!

STAFFORD

I didn’t have much choice. My girlfriend’s sister had acid thrown in her face. I had to show the cops my card; to cap it all, George, my prospective father in law, has run off.

MICHAELIS

Run off! Run off where?

STAFFORD

That’s just it, I don’t know.

MICHAELIS points at the computer.

MICHAELIS

Run a check on him.

STAFFORD

Come on, this is Penn’s old man! He’s a good bloke. If he isn’t kosher, I'm not sure I want to know.

MICHAELIS picks up his magazine and shuffles toward the door.

MICHAELIS

Your problem Malcolm is that you’re not paranoid enough for this game.

STAFFORD stares into space, then picks up the razor.

INTERIOR OFFICE - DAY.

STAFFORD, looking considerably sprucer after a shave, sits at the computer and keys in a series of code words.

The computer outputs:

Aston George: See code Green.

STAFFORD repeats the series.

Aston George: See code Red.

STAFFORD whistles and keys in Code Red.

Aston George: Code Black. You have no more security clearance.

STAFFORD looks at the screen and then keys in Benson the ‘no listing’ command comes up again. He asks for a listing of all the Bensons in the registry. A list comes up. He keys in Benson’s full name; the computer throws back ‘no listing’.

EXTERIOR ASTON’S HOUSE - DAY.

The police forensic team are searching the grounds.

INTERIOR STAFFORD’S OFFICE - DAY

STAFFORD is trying to read a document relating to Russian Criminals involved in supplying weapons to Serbia. After a few minutes he tosses the paper into the air and looks into space.

Harrington, STAFFORD's somewhat dyspeptic superior bursts into the room.

He is a man of about 50, the bowler hat, rolled umbrella and red carnation brigade, fussy, irritating and belligerent.

HARRINGTON

You disclosed yourself to the police yesterday. The call was entered in the duty log.

STAFFORD

I was a witness to an acid attack. I didn’t have much choice.

HARRINGTON

It wasn’t necessary.

STAFFORD

We are supposed to co-operate with them, they co-operate with us, or is it that you think co-operation is a one way street Tony.

HARRINGTON

I’ve told you before your attitude is noticed, this will go in your record.

STAFFORD

Stuff the record, I’ve got work to do.

EXTERIOR ASTON’S HOUSE - DAY.

The police forensic team, make a cast of the tire tracks.

INTERIOR UNDERGROUND FIRING RANGE– DAY.

STAFFORD is in the underground firing range.

A stream of tracer from a Markarov machine pistol is demolishing Saddam Hussein and Osmia bin Laden.

MICHAELIS comes down the shooting cells until he finds STAFFORD.

MICHAELIS (shouting)

Malcolm, the big boss want’s to see you

STAFFORD takes off his ear protectors

STAFFORD

What does he want?

MICHAELIS

You, his office, five minutes flat.

The targets flap back and forth as the electronic hoist pulls them back; every bull is obliterated.

INTERIOR OGILVIE’S OFFICE –DAY.

The office is large with a view over the London skyline. OGILVIE is a man of about 50, lean and fit. His wears his clothes with a vague military air; as if he has been more used to uniforms. At the moment he is sitting behind an enormous desk talking animatedly into the telephone.

A second man is looking out of the window.

STAFFORD is shown in. OGILVIE motions for him to sit.

STAFFORD

If it’s about Inspector SWANSON?

OGILVIE

SWANSON, I don't know anything about any SWANSON, inspector or otherwise. You ran a trace on George Aston, why?

STAFFORD

His daughter was attacked last night.

OGILVIE

Attacked?

STAFFORD

She had acid thrown in her face. I was there; I had to identify myself to the local police.

OGILVIE

Ah, this PC Plod character you seem to want to tell me all about and Aston?

STAFFORD

He’s disappeared.

OGILVIE

He’s what?

STAFFORD

Disappeared, late last night: after the attack.

OGILVIE

I’m obviously not up to speed here.

The second person in the room turns to face STAFFORD, it is man we saw earlier in Prof. Lumsden’s office.

CRAIG

Can I interrupt for a moment Steven?

OGILVIE shrugs.

CRAIG (silkily)

Mr. STAFFORD, can you explain the nature of your relationship with George Aston?

STAFFORD.

I’m going to marry his daughter.

Both men’s reaction is stunned silence.

OGILVIE

I think you had better come with us.

STAFFORD (confused)

What for?

CRAIG

Mr. STAFFORD, George Aston was one of ours.

INTERIOR CORRIDOR BRIEFING ROOM –DAY.

STAFFORD and OGILVIE step out of a lift high above the street. In front are two armed US Marine Corps guards seated behind a small desk, OGILVIE hands their passes to the first guard. He checks the passes carefully against a computer database. The second guard opens the heavy metal door electronically.

OGILVIE

This is the UKUSA intelligence liaison. Politicians talk about the special relationship; we’ve got one. It’s designed to facilitate co-operation between us and the Americans at every level of intelligence, from code-breaking to black operations, and it works. It’s the most important secret we have. CRAIG, General CRAIG is a senior committee member and so am I.

OGILVIE leads STAFFORD through.

STAFFORD

Did Aston work for us?

OGILVIE

No.

STAFFORD

Then what was he?

OGILVIE

A Russian defector, for thirty years!

STAFFORD can’t conceal his shock.

INTERIOR BRIEFING ROOM –DAY.

The overall impression is of light from the floor to ceiling windows. Seated around the table are half a dozen senior intelligence officers representing different departments in British and American intelligence.

CRAIG is speaking, his voice an unemotional monotone.

CRAIG

Cheleyskin was born in Central Asia, we brought him out in 71. His wife was Checz; said he didn’t like what Moscow had done to Prague in 68. His father-in-law, a professor of history at Charles University, was arrested for being a member of Dubchek’s Prague spring group. He died in a Soviet labour camp in 1970. Not long afterwards Cheleyskin offered to come to us. We wanted him because he had been a physical chemist working on bio warfare systems, one of the best they had. The deal was we bring his wife and daughter out too. Things might have worked out well but unfortunately his wife died in childbirth, I think that unhinged him. He refused to work for us saying he’d already escaped from one straight jacket and he didn’t want to be fitted for another.

MINISTER

On can’t entirely condemn him for that

CRAIG (ignoring the interruption)

We gave him a new identity as Aston, some money, not much and let him go his own way.

MINISTER

And that way was?

OGILVIE

A highly successful industrialist!

MINISTER

With defence contracts?

OGILVIE

His patents are mainly for bio catalysts in petrochemicals, lucrative but in no way secret. One company contracts for composite materials to NASA. Another makes transponders for high explosives: there's a nuclear connection there but it’s highly tangential: not enough reason to run away for.

An American naval officer interjects.

NAVAL CPT.

The CIA exfiltrated him, why did he come to live in England?

CRAIG

He refused point blank to stay in the United States.

NAVAL CPT.

Was he anti-American?

OGILVIE

No. He lived quietly: ran his business and looked after two girls.

MINISTER.

Women? Men, Gambling?

OGILVIE

Nothing, he voted regularly, that's it.

MINISTER

Who for?

OGILVIE

Voting's not a crime, yet!

MINISTER

The other lot I’ll bet! How much was he worth?

OGILVIE

It’s hard to tell. It's a private firm; profits were recorded at £3 million last year.

MINISTER

How about fraud?

OGILVIE

That’s under consideration, but as far as any one can tell, it’s a sound business.

NAVAL CAPT.

Yes, but just how big is it.

OGILVIE

Maybe around $100 million.

NAVAL CPT.

Judas!

MINISTER

Question, was Aston a sleeper? Has he gone double, triple or what ever it is you usually call it?

OGILVIE

We’re not discounting anything but we just don’t know. All we can do is look for him and find out.

MINISTER

Where do we start?

CRAIG

STAFFORD has a personal connection to the family.

The Minister looks somewhat sceptical.

CRAIG

It could be of use to us.

STAFFORD

Now wait a minute!

OGILVIE jabs STAFFORD to be quiet.

CRAIG

STAFFORD is the perfect person: an inside man.

MINISTER

I concur, an inside man, we had best use him.

STAFFORD is grim faced, OGILVIE uncomfortable and CRAIG is inscrutable.

INTERIOR CORRIDOR–DAY.

OGILVIE stops STAFFORD in the corridor.

OGILVIE

I’m sorry I couldn’t do anything to stop them.

STAFFORD

I don’t want to investigate Penny’s family. I liked Aston, I was happy to be his son in law.

OGILVIE

CRAIG brought Aston out of Russia, by all accounts he screwed-up.

STAFFORD

He got to have more interest than unfinished business from 30 years ago.

OGILVIE

Intelligence services are like any bureaucracy, you either expand or you die. Well CRAIG didn’t take kindly to losing a big chunk of his power so like any good bureaucrat he built up more responsibility elsewhere: anti-chemical warfare defence. Not fashionable then, but it’s what they term a growth area, especially now. So CRAIG is on a lot of committees, including this one.

STAFFORD

What a can of worms!

OGILVIE

Aston was just another defector on the pension roll; different in only one respect, he paid for himself. His last words to us in 76 were I want to sink into the fabric of capitalist society. Find him, and soon, before we all get it in the neck.

INTERIOR LUMSDEN’S OFFICE – DAY.

PENNY and LUMSDEN have been arguing.

PENNY

The facility's dangerous; it’s a disaster waiting to happen.

LUMSDEN

I’ve told you before, this work is too important to stop. Watch the news, do you? The island has to be operational as soon as possible. If you’re that worried go up and see for yourself.

An angry and frustrated PENNY turns to lave

EXTERIOR ASTON’S HOUSE –DAY.

Two Mini vans turn into the drive way.

STAFFORD steps out onto the gravel, as half a dozen men emerge from the back of the vans carrying boxes of detection equipment and power tools.

INTERIOR HOUSE –DAY.

The six man team unpack the boxes in the hallway. MICHAELIS is pulling on overalls.

STAFFORD

Tear this place apart, we don’t know why he ran, but the reason’s got to be here.

STAFFORD team of agents begin to take Aston’s house to pieces. They tap walls, use detectors, search draws and pull up floorboards. MICHAELIS checks the basement and servants quarters. Suddenly there is an excited call up to STAFFORD.

MICHAELIS

Boss I think you’d better come and look at this.

In the basement the team find Aston's well equipped chemical laboratory. STAFFORD leafs through a series of notes lying on the table.

STAFFORD

Box it all up, and send it back to the lab.

MICHAELIS

What is it?

STAFFORD

I’ve no idea, but I don’t think Aston would leave much that was important lying around.

Eventually there is a pile of stuff collected in the hallway that STAFFORD wants to take away for further inspection.

INTERIOR UPSTAIRS CORRIDOR –DAY.

The team are working their way through the upstairs bedrooms.

MICHAELIS

This is Miss Aston room!

STAFFORD

So!

MICHAELIS

Do you want us to leave it alone?

STAFFORD looks at him in astonishment

STAFFORD

I said search everything! I meant everything! Now get on with it.

INTERIOR GILLIAN’S ROOM – DAY.

The team start to search Gillian’s bedroom. A framed Pop poster of an old boy-band dominates one wall and by the bed are a large collection of photographs of Gillian, Aston and Penny. STAFFORD picks up the picture of Gillian and Penny as teenagers.

The others search the rest of the room, which reveals nothing except expensive clothes and romantic novels.

INTERIOR PENNY ASTON’S ROOM – DAY.

Penny Aston’s Room is more impersonal, less girlish and has fewer personal mementoes.

MICHAELIS (handing STAFFORD a book)

There is nothing here except this.

He gives STAFFORD a Parliamentary report entitled ‘Safety regulations for bacteriological laboratories’.

INTERIOR HOUSE –DAY.

Slowly the team make their way through the house, tapping walls, listening with microphones, pulling out draws searching for secret hiding places.

INTERIOR HOUSE – DAY.

The team are now upstairs in Aston’s Study. There appears to be nothing unusual, panelled walls, books and a couple of pictures. MICHAELIS (wearing sensitive earphones) stops in his tracks. He looks up and grins at STAFFORD:

MICHAELIS (pointing to the wall)

Bingo!

STAFFORD

Bingo?

He runs his finger down a faint line in the wall.

MICHAELIS

See, the wall is flush. You can’t see the join, but it’s hollow. I’ll give you 6-4 it’s a vault, probably a big one.

The team start to break down the panelled wall to reveal the heavy metal door of a large walk -in- wall safe.

MICHAELIS eyes the safe coolly

MICHAELIS

Chubb-Ballard, the walls are reinforced concrete and the door ten layers of tensile steel: a poor mans Fort Knox. With most safes you blow them, in the old days it was Nitro, now they use Semtex, but not this one. If we try to blow it, well take the whole house with us. All we can do is try to cut the lock out. The downside is it’s noisy and takes time.

STAFFORD

Don’t stand around talking; get on with it.

EXTERIOR HOUSE - DAY.

The team haul cutting tools and diamond tipped drills out of the back of the van.

Penny’s blue BMW draws up beside the van, she can see that they are carrying cutting equipment into the house. She walks into the house after them, a surprised look on her face.

INTERIOR HALLWAY –DAY.

In the hallway is a pile of stuff ready to be taken away for examination, along with the debris from the search. MICHAELIS is checking the laser drill.

Penny grabs MICHAELIS’ arm.

PENNY

What’s going on here?

MICHAELIS

Miss Aston it’s probably best if you talk to Mr. STAFFORD.

PENNY

Malcolm’s here, with you!

MICHAELIS

He’s upstairs checking the rooms.

Half in a trance she climbs the stairs

INTERIOR BENSON’S ROOM- DAY.

STAFFORD is in Benson’s room, it too is strangely impersonal as if it’s occupant had no life other than his duties as butler.

STAFFORD searches the room but can find nothing. He kneels down to look under the bed and his eye is caught by something that gleams in the darkness.

He pushes the bed away and reaches his hand down. With an effort he reaches all the way down to lift it up, a single 9mm bullet.

INTERIOR GILLIAN’S ROOM- DAY.

Penny stares open-eyed at the debris from the search; she finds some of Gillian’s night-clothes in an open draw on the bed and puts them in her bag.

MICHAELIS (alarmed)

Miss Aston!

Curtly she pushes him away and backs out of the room.

INTERIOR CORRIDOR –DAY.

STAFFORD comes out of Benson’s room and collides with Penny. Her expression changes rapidly from pleasure at seeing him to reflect her anger at what’s happening to her house.

PENNY

Malcolm, why are you here with the police?

STAFFORD

They aren’t….

PENNY

Not the police, I don’t understand!

STAFFORD

They work for me.

PENNY (confused)

You?

STAFFORD

Yes.

STAFFORD leads her to a small alcove.

STAFFORD (quietly)

Penny, I work for the government.

PENNY

You what?

STAFFORD

I didn’t want to tell you this way. I work for the intelligence service.

PENNY

Malcolm you're an economist!

STAFFORD

My work deals with industrial-economic intelligence and your father was-is of concern to us, he’s gone, that matters.

PENNY

Us?

STAFFORD

His disappearance comes under the remit of my department and it’s me who has to investigate because I know you.

PENNY

Malcolm please don't joke with me.

STAFFORD (putting his hand on her)

Penn, I only wish I was. Tell me about Benson.

PENNY (pulling away)

Benson! He's been here for ages, my whole life practically. No! wait! Is all this some kind of set up? Us meeting: everything.

STAFFORD

Don’t be paranoid!

Penny is about to reply when STAFFORD interrupts.

STAFFORD (very deliberate)

I didn’t lie to you darling.

PENNY

Don’t call me that!

STAFFORD

Penny, I didn’t tell you about what I do because I can’t. That’s all there is to it.

PENNY

How much worse can things get? My sister’s in hospital and my father’s run away, now my boyfriend’s a spy. How do you think I feel?

STAFFORD

We have to find your father as soon as possible.

PENNY

No, I won't help you. Gilly needs me now.

Penny picks up her bag with Gillian’s clothes and leaves.

EXTERIOR HOUSE - DAY

Penny throws the case in the back of the car and drives off. STAFFORD watches her from an upper window.

INTERIOR STUDY – DAY.

The team have finished breaking through the outer skin to expose the lock.

MICHAELIS grins at STAFFORD.

With a click the whole lock apparatus is broken out.

MICHAELIS

Open sesme!

The team manhandle the safe door open, it's totally empty and reveals nothing except a fine film of dust: it’s as though it had never been used. The ‘team’ stand about looking bemused.

EXTERIOR HOUSE – DAY.

STAFFORD and MICHAELIS are watching the team pack their equipment into the back of the vans.

MICHAELIS is sitting in the front of the lead van.

STAFFORD

Get it all back to the shop, I want a report on my desk first thing tomorrow, especially that stuff from the laboratory.

EXTERIOR ISTAMBUL STREET – DAY

Subtitle Istambul

A man is walking down an old cobbled street; he is wearing a long dark astrakhan coat and Russian style hat. He turns into the main square and in the shop lights we can see him clearly for the first time: Aston.

Aston crosses the square into a big hotel.

From a car across the street a digital camera with a telephoto lens focuses in on Aston: it clicks a series of pictures of him as he enters the HILTON Hotel.

INTERIOR VAN ISTAMBUL – DAY.

Inside the back of the van a young man plugs the camera into an expensive lap-top computer, set into a special stand, then he dials a number on his mobile phone.

The phone connects audibly: and the computer brings up a code prompt. The man keys in some letters – then the pictures come on screen. The operative presses the return key and the picture uploads.

He grins to himself.

INTERIOR MI6 COMMUNICATIONS CENTRE – NIGHT.

A Large room full of the most up to date computer and communications equipment. Secretaries in neatly pressed designer clothes wander from terminal to terminal. White shirted operatives with headphones talk in hushed tones to agents across the world. There is an air of tense expectancy about the room. OGILVIE is standing next to a computer consol.

We can see the computer screen as the young female operative adjusts the programme.

GIRL

It’s coming through now sir.

OGILVIE shifts in impatience. The girl adjusts the key- pad and the programme starts to run.

The picture that has just been taken in Istambul is downloading and printing.

OGILVIE reaches over to pick up the picture from the laser printer. He smiles.

INTERIOR STAFFORD’S OFFICE.

STAFFORD is trying to work his way through a thick file on bio-technology when OGILVIE bursts in.

He dumps the picture in a startled STAFFORD’s Lap.

OGILVIE

Aston’s in TURKEY, using a Russian passport.

OGILVIE grins in triumph

OGILVIE

Get the boys out there and bring him back.

EXTERIOR ISTAMBUL BLUE MOSQUE SQUARE– DAY.

Benson is sitting alone in a café reading an English news -paper. Across from him, at another table, is a tall man, also wrapped up in winter clothes, drinking coffee and reading a Turkish novel.

Benson counts out some change and taking his copy of the Times he walks off towards the hotel.

The man with the novel follows him.

Across the street, arm in arm, we can see a young couple keeping pace with Benson and in-front of him is MICHAELIS: the team are in place.

EXTERIOR BRITISH EMBASSY -DAY

STAFFORD walks past a guard in to the embassy.

INTERIOR EMBASSY -DAY

STAFFORD stops at the front desk, two secretaries are sitting answering telephones.

STAFFORD

Mr. Bishop, Head of Chancery.

INTERIOR BRITISH CONSULATE ISTAMBUL –DAY.

STAFFORD is waiting in the Embassy Chancery. On ornate heavy 19^th century room, designed to overawe. A discrete and urbane junior diplomat ushers him into a third secretary’s office.

INTERIOR OFFICE ISTAMBUL – DAY.

A Pompous, prematurely aged man is seated majestically behind a Louis XV desk.

BISHOP

The answer Mr. STAFFORD is no.

STAFFORD

I haven’t asked for anything yet.

BISHOP

You people make our job a lot harder.

STAFFORD

What people?

BISHOP

You all think you’re James bloody Bond.

STAFFORD pulls out a telephone and pulls up OGILVIE’s stored number. Bishop looks at him in amazement.

STAFFORD

I have a problem, lack of local co-operation. His name’s Bishop.

He turns the phone off.

STAFFORD

We’re not James Bond or some bunch of Cowboys out on the town, this is, to use a hackneyed phrase, a matter of national security.

Bishop is about to answer when the red internal phone rings.

BISHOP

Yes, Ambassador. He’s here now… I… yes of course Ambassador.

He puts the phone down quickly.

BISHOP

It seems you have the advantage of me.

STAFFORD

I need men and safe flats.

INTERIOR EMPTY ROOM – EVENING.

An empty unfurnished flat, which is now filled with equipment for a stakeout. MICHAELIS is checking the team’s equipment, which includes a computer, a printer, a radio telephone/fax and other communication equipment such as long range mics and digital cameras.

Through powerful binoculars STAFFORD watches Benson go into the hotel lobby.

MICHAELIS opens a leather bag: in it are several automatic pistols.

MICHAELIS

What about guns?