Page 1



Written by Patricio Fernández-Urbina


WGAW # 1426089


FADE - IN 1.



SOPHIE, a young and very attractive woman, is preparing a dose of heroin, in the company of RACHEL and TIM. The apartment looks luxurious and expensive. 2.



A man and a woman are preparing a dose of heroin. They both look scruffy and unwashed. The apartment is dirty and untidy. The distant sound of a police siren makes them feel uneasy for a moment. 3.



Sophie is very carefully preparing the syringe, whilst Rachel and Tim sit beside her, attentively watching her every move. 4.



A group of children are gloating over the cakes in the display. Their eyes are wide open, and their craving for the cakes makes them instinctively lick their lips and swallow. 5.



Rachel and Tim are looking at the drug with the same expression with which the children in the previous scene were looking at the cakes. Sophie injects herself near her ankle. She passes the syringe to Rachel who also injects herself, and in turn passes the syringe to Tim. 6.



The group of children have just finished eating some cakes; they have cream around their mouths and their expression is one of immense satisfaction. 7.



The facial expressions of Sophie, Rachel and Tim are the same as those of the children in the previous scene. 8.



The apartment is now softly lit, and Sophie's laughter can be heard over the soft music playing in the background.


She is sitting across the knees of a MAN (he is dressed in a suit, but we cannot see his face); she is dipping one of her fingers in his glass, and teasing him, as he tries without success to catch it between his lips. Finally the man succeeds and begins to suck the finger while his hands are fondling her body. He is breathing heavily and begins to remove Sophie's clothes. Sophie begins to unbutton his trousers. Half undressed they lie on the floor and have sex. 9.



ANGLE on JANE TURNER as she walks into the building of the "Morning News". She is an attractive woman in her midtwenties, and has an aura of confidence about her. 10.



As Jane enters the newsroom the sound of technology is deafening- telephones ringing, printers and telex machines working without pause, and people shouting over each other to try and make themselves heard. CAMERA PANS across the room, and then back to Jane, who is approached by a SECRETARY as she is about to sit at her desk. SECRETARY Jane, MIKE wants to see you. JANE OK, thanks. Jane walks towards Mike's office. The door is open and she walks in. Mike is sitting at his desk. JANE (CONT’D) Hi Mike, you... MIKE (interrupting) Ah! Jane. Come in, come in, and sit down. How are you? JANE (guardedly) Fine and you? MIKE Jane, I have to run a story on "Aids" to coincide with International Aids Day in a couple of weeks, and I want you to write it. But nothing too involved, just the usual stuff about drug addicts and puffs.


JANE (sighing) And I thought that at long last you were going to give me an important assignment. MIKE I thought you'd be pleased. You are always accusing me of being insensitive towards social issues. Are you implying that the spread of "Aids" is not an important issue? JANE No, of course it's important, but I know it's not that important to you. If it were, you would have given the assignment to one of your male buddies. MIKE (paternalistic) Come on Jane. Your day will come soon. I promise. As Jane gets up and goes towards the door, JIM comes in. JIM Oh, I'm sorry, I... MIKE Come in, come in. I just wanted to ask you to cover the press conference FELIX GRIFFITHS has called for tomorrow at three to announce details of the new Education Plan. JIM OK Mike. Jane and Jim come out of Mike's office together. JANE (to Jim) I wish he'd put me on current affairs. At least once. JIM What are you doing now? JANE He wants me to write a story on "Aids". The usual stuff he saiddrug addicts and puffs. (angry voice) I can't stand the man.


JIM Oh, well, good luck. JANE (sighing) Yeah, thanks. 11.



Jane has met her friend TANIA for a drink. Tania notices two men at the other end of the wine bar looking towards them. TANIA Have you noticed those two guys over there? JANE Which ones? TANIA Just turn round slightly. Jane turns round and sees ASTOR and PETER. JANE (approvingly) Hmm. I like the tall, dark and handsome (referring to Astor). Peter has noticed Jane turning around to look at him and Astor. PETER (to Astor) You see, they've looked this way and now they’re talking about us. Come on, let's go over. ASTOR I don't know. Do you really think they were looking at us? PETER Definitely. ASTOR It might have just been a coincidence. Suppose we go up to them, and they tell us to piss off? PETER OK, OK, let's move closer. As Peter and Astor begin to move closer, Tania notices and with a smile she whispers to Jane.


TANIA Don't look, but they are coming over. No, they've stopped.What do they need, a written invitation? 12.



Everybody is now dressed in cowboy outfits and carrying guns. In the middle of the bar, Jane and Tania are facing Astor and Peter. The scene is set for a gunfight. TANIA It's your call. PETER No, it's your call. TANIA You looked first. PETER OK, but when you looked back, we moved closer. Now it's your turn, and you'd better make it fast. TANIA We're not calling it. 13.

INT. A WINE BAR - NIGHT Back in present time. PETER (to Astor) Come on, it's our call, they're a definite, we have to make a move. Before Astor can react, Peter has gone over to Jane and Tania, has sat down at their table and after a couple of minutes is waving to Astor to come over, which he does. ASTOR !Hi! JANE AND TANIA !Hi! Astor sits besides Jane. PETER (to Jane and Tania) You'll have to speak slowly, his "English" is not very good.



JANE (slowly) So, Peter tells us you're Spanish. Where from in Spain? ASTOR From Madrid. JANE I was there last year. It's a nice city. The night-life is just incredible. So, what do you do? ASTOR (with a very good English accent) I'm a screenwriter. What about you? JANE I'm a journalist. ASTOR For which paper? JANE The "Morning news". ASTOR Ah. JANE I know, I know. But tell me, what films have you written? ASTOR I don't think you would have seen them, most of them haven't been shown in the U.K., although there was one that was shown at a London Film Festival a couple of years ago, "The man who learnt how to cry". JANE No, I don't think I've seen it. Why did Peter say...? Your "English"is very good. They all look towards Peter, who is smiling and making faces. ASTOR He always does that to me. In fact I've been living in London for quite a few years now.


TANIA (to Astor) Are you writing a screenplay now? ASTOR Well, I've got an idea for one, and I am going to begin to do some research. TANIA What is it about? ASTOR (evasive) It will probably be a thriller. JANE He doesn't want to give away the plot. (to Astor) At least tell us the title, so that we can look out for it. ASTOR "You too?" JANE What do you mean? ASTOR Nothing, that's the title - "You too?". JANE (surprised) Oh!. ASTOR It's a cryptic title. WIDER ANGLE, JANE IS TALKING WITH ASTOR, AND TANIA WITH PETER. TANIA STARTS LAUGHING LOUDLY. TWO SHOT OF JANE AND ASTOR. JANE It sounds like Tania is having a great time. Is he always as funny? ASTOR Yes, it's something I've always admired in him; the ease with which he can make people laughespecially women.


JANE They do say that women are more attracted to a man that can make them laugh, than to one that is very handsome. ASTOR True. Those of us who are shy, have a very difficult time. JANE Why?, shy men are also attractive to women -at least to me they are. ASTOR Maybe, but the problem is that because we are so shy, we never get to find out. Let's face it, it's still very rare for a woman to make the first move. Tania decides to go to the "ladies room", and Jane goes with her. 14.



JANE (to Tania) You seem to be getting-on quite well with Peter. TANIA Yes, he's very funny, I hadn't laughed so much for a long time, and he's cute. What about you and Astor? He's very nice and good looking. JANE He is, isn't he?. He also appears to be very sincere. 15.



ASTOR (to Peter), what do we do? 16.

INT. A LADIES ROOM -NIGHT JANE, what do we do?






The room is completely white and has no furniture. Jane, Tania, Astor and Peter are walking up and down the room; they appear pensive. TANIA (to Jane) ...well, if they both have a car, Astor can take you and I can go with Peter. PETER (to Astor) ...well, if neither of them have a car, you can take Jane and I will take Tania. JANE (to Tania) What happens if they don't have a car? ASTOR (to Peter) What happens if they both have a car? 18.

INT. A WINE BAR - NIGHT All four are back at the table. JANE I think they're about to close this place, and I have to get up early tomorrow. TANIA Yes, I think we'd better make a move. PETER Are you driving? TANIA No, we'll take a cab. PETER No, no, we'll drive you. Do you live together? TANIA No.



PETER (to Tania) OK, I can give you a lift home, and Astor can take Jane. TANIA AND JANE No, no, it's too much trouble. PETER AND ASTOR No trouble at all. Ready when you are. TANIA AND JANE OK, thanks. Tania and Jane lead the way out of the wine bar, and as they do, they exchange a look of complicity. Behind them, Peter and Astor express theirs by quietly slapping each other’s hand. 19.



Jane and Astor are at the front door of the house of flats. Neither of them knows what to say. JANE Well, thanks for the lift. Normally, I would ask you up for a coffee, but I actually do have to get up quite early tomorrow. ASTOR That's OK. It's been a very pleasant evening. JANE Yes, it has. ASTOR Well, I'd better ... (hesitating) I was wondering, if you are free tomorrow evening, maybe we could go for a drink or dinner? JANE I'd love to. ASTOR Good. At what time? JANE (takes out paper and pen from her handbag and writes) Here's my number. Call me around (MORE)

11 JANE (CONT'D) mid day, and we can arrange it then.

ASTOR OK. I'll talk to you tomorrow. They say good night, and kiss on the cheek. Jane goes into the house, and Astor walks back to his car; he gets in, makes a gesture of accomplishment, puts on a tape, lights a cigarette, and drives off looking very content. 20.



Jane is sitting at her desk. She's thinking. Suddenly her expression conveys she's had an idea. She looks through her diary, picks up the phone and begins to dial. JANE JOHN, hi it's Jane, how are you? ...I'm fine. John, I need a favour, you know a lot of people, and I was wondering... WIDER ANGLE as sound withers away. 21.



ANGLE from speaker's platform. We see journalists, cameras, lights. FAVOURING Jim, talking to a colleague. Felix Griffiths arrives with his entourage, but we don't see them, ANGLE is still on journalists and it is their reaction that makes us aware of the arrival of the former. FELIX GRIFFITHS (O.S.) Good afternoon ladies and gentlemen, thank-you for coming here today. I will first give you an outline of the new Education Plan, and afterwards, SIR JOHN RIVERS and myself will be glad to answer any questions you may have. The declining standards... (voice fades out) NEW ANGLE of journalists, as voice of Felix Griffiths begins to fade in. FELIX GRIFFITHS (O.S.) (CONT’D) We shall now answer your questions. JOURNALIST (1) Minister!. The opposition parties have criticised your Education Plan as being elitist and unjust. (MORE)

12 JOURNALIST (1) (CONT'D) They claim that you will be transferring resources now available to the Public sector into the Private sector, and that this will only benefit the already welloff at the expense of the poorer sections of society.

FELIX GRIFFITHS (O.S.) Well, they would say that, wouldn't they?. What the Education Plan does, is to set parameters for efficiency, and thus direct scarce resources to where they will yield a higher return. Resources will be redirected to those schools that have a good performance record, and those schools happen to be in the Private sector. The increased subsidies will enable these schools to perform even better, turning-out very able individuals who will help to increase the overall productivity of the country, and this will benefit everybody. JOURNALIST (2) Minister!. International Aids Day is in about two week's time. Critics of your present education policy claim that not enough is done at schools to inform pupils about the dangers of the virus, and of ways to prevent infection. Is this going to change with the new Education Plan? FELIX GRIFFITHS (O.S.) We place a great importance on the family unit, and in the traditional moral values that parents can teach their children. The new Education Plan relies heavily on this aspect of the education process. There are two groups more at risk from "Aids", namely drug addicts and homosexuals, and however much we try to explain the dangers of the virus, these two groups continue to engage in devious behaviour. There is obviously a flaw somewhere in the education process of children. (MORE)

13 FELIX GRIFFITHS (O.S.) (CONT'D) Schools will continue to do what they can to inform pupils, but most of this responsibility will have to fall on parents. If they can convey traditional moral values to their children, then we will hopefully see the demise of these deviant forms of behaviour, and a check to the spread of the virus. Ladies and gentlemen, thank-you.

ANGLE on the back of Felix Griffiths leaving the press conference, by the back of the speaker's platform, together with his entourage. 22.



Jane arrives at the apartment block; she looks through the names on the entry phone panel, and presses one of the buttons. SOPHIE (O.S.) Hello? JANE Hi, my name is Jane Turner, I... SOPHIE (O.S.) (interrupting) Oh, yes, come up. It's the second floor. As the buzzer sounds, Jane pushes open the door and walks in. MOVING SHOT of Jane walking up the stairs and arriving at a door. OVER THE SHOULDER SHOT of Jane ringing the door bell. The door opens and we see Sophie. JANE Sophie? SOPHIE Hi, come in. 23.

INT. SOPHIE'S APARTMENT - DAY As Jane enters the apartment, she notices Rachel who is watching television. SOPHIE (to Jane) This is my friend Rachel.



JANE Hi!. RACHEL Hi!. JANE (to Sophie) Thank-you for seeing me. As I told you over the phone, I'm a journalist for the "Morning News". I have to write a piece on "Aids", and I want to write it from the viewpoint of women. When I asked John whether he knew any (pause) women in your (hesitating) profession, he suggested you. Do you mind if I tape this? SOPHIE No, go ahead. Jane brings out a mini cassette from her handbag. JANE (slightly nervous) The first thing I want to ask you is whether you insist that your clients use a condom. SOPHIE No, I don't think any of them would like to, and in any event I'm on the pill. JANE But, are you not afraid that one of them might be HIV(+)? SOPHIE HI what? JANE That they may have "Aids". SOPHIE Ah! I doubt whether any of my clients are gay. JANE "Aids" not only affects gays, hetero... straight people can also become infected. (MORE)

15 JANE (CONT'D) One of your clients may have had intercourse with a woman that was carrying the virus, maybe without knowing it herself, your client is infected and then might pass the virus on to you.

RACHEL (O.S.) Look Sophie!. T.V NEWSCASTER (O.S.) This morning the Government announced details of its new Education Plan. At a press conference called by Felix Griffiths, Minister without Portfolio... RACHEL (O.S.) Isn't that your friend? ANGLE on Jane, Sophie and Rachel from behind the television set. All three are looking at the set. SOPHIE (agitated) No, no!. CLOSE SHOT of Jane. Her expression conveys her thoughts. Has she stumbled on to a story?. JANE (to Sophie) So, who are your clients? SOPHIE Oh, all sorts. JANE What, businessmen, judges, civil servants, (making emphasis) politicians? Sophie appears agitated. She wants to end the interview and her answer is calculated to try and embarrass Jane. SOPHIE Mostly businessmen who's wives don't fuck any more, or are looking for excitement.


JANE Going back to the point I made before, about your clients sleeping with other women and becoming infected with "Aids". Are you not afraid of that? SOPHIE After being with me, I don't think they have the energy. JANE But you don't know. Even that Minister on T.V just now - Felix Griffiths - he might sleep around and get infected. SOPHIE No he doesn't. I mean (slightly agitated) a Minister doesn't go sleeping around. JANE It wouldn't be the first time. Anyway, I think I have enough for the moment. Thanks. Could I see you again if I have any more questions? SOPHIE Sure, just give me a call. Jane gets up and walks towards the door. As she opens it, she turns around to Sophie, who has come with her. JANE Thanks again, and please take care of yourself. SOPHIE OK, bye. JANE Goodbye Rachel!. RACHEL Goodbye! 24.



Jane is sitting in front of her PC. INSERT of PC screen from Jane's POV. The screen shows that Jane is typing - GRIFFITHS, F - after a couple of seconds the following appears: GRIFFITHS, Felix (b.1948).


Educated at Harrow and Oxford. Joined Civil Service in 1970. Conservative M.P for Sixbury since 1985. Member of Cabinet since 1986. Chmn. Association for Victorian Values. The screen shows that Jane is typing - RIVERS, J - after a couple of seconds the following appears: RIVERS, SIR John (b.1932). Educated at Harrow and Oxford. Joined Civil Service in 1954. Commercial Attache, Moscow (1964-1968). Military Attache, Havana (1968-1970). Military Attache, Bonn (1970-1974). Knighted in 1974. Cultural Attache, Prague (1974-1977). Since 1978, Permanent Undersecretary Department of Education. Jane signs off, and walks over to Jim's desk. JANE (to Jim) Hi!. How was your press conference? JIM OK I guess. JANE I watched part of it on T.V. Griffiths was replying to the question about "Aids". I thought I might try and arrange an interview with him for my story on "Aids". Do you know him? JIM No, I don't. JANE There isn't much information on our files about him - public school, Oxford, Civil Service. (MORE)

18 JANE (CONT'D) What posts did he hold in the Civil Service?

JIM Well, that has always been a bit of a mystery. He's held very obscure posts at various Ministries, but I don't think anybody has ever managed to find out what it was he did. There are rumours that he was attached to a secret department of the Secret Service, you know, the kind that even the Secret Service don't know about. JANE What do you think? JIM I really don't know. But what I do know is that the Prime Minister likes him; he created the Ministry without Portfolio just for him and this allows him to influence and comment on any area of policy, like today on education. From being a relatively unknown character, to always being in the spotlight. JANE Maybe he likes him because he is very conservative. JIM Very conservative?, even the hardcore right wingers within the Party think he is too extreme. He is the Chairman of an association he founded himself, the Association for Victorian Values. It campaigns against abortion, pornography, and what they call devious behaviour. His wife is also involved in it. JANE What about Rivers?, I know that he fell in disgrace, but nobody seems to know why. JIM That’s right. The only thing I've heard is that something happened when he was posted to Prague. After that, internal exile to the Department of Education.


JANE Hmm. It all sounds very much "cloak and dagger". Oh well, I'd better get back to my story. JIM OK, and let me know if you manage to get an interview with Griffiths. JANE Yes, OK. 25.



Jane comes out of the shower. She dries herself and looks at her naked reflection in the mirror. She utters a sound of approval. MOVING SHOT of Jane as she goes from the bathroom to the bedroom. In the bedroom she begins to look through her wardrobe. As she takes out various items of clothing and tries them over her, she is looking at herself in the mirror, and talking aloud to herself. JANE Jeans?, no, I don't know where we're going. A suit?, too formal. Maybe a dress?, it's too cold for this one. It's too hot for this one. This one I don't like, I look like a little girl with this one. (She looks at her watch.) Damn! In the end, she decides to wear a tight black leather miniskirt, and a white blouse; her lingerie and stockings are black, and so are the low heel shoes. 26.



Jane is now in the living room. She is fully dressed, and is trying to read, without success, while she waits. The entry phone rings. JANE Hello?...I'll be down in a minute. 27.



Jane comes out of the house, and greets Astor. They kiss on the cheeks. They get into Astor's car and drive away.





As Jane and Astor are being led to their table by a waiter, the people in the restaurant are looking at them. They are seated and given the menu. WAITER Would you like to order a drink? Astor looks towards Jane. JANE I'll have a Kier. ASTOR (to waiter) Make that two. WAITER Thank-you Sir. Astor looks around the restaurant, then looks at Jane and smiles moving his head side to side. JANE (curious) What? ASTOR I'm sorry. I was just laughing at human nature. You must have noticed that as we walked-in, everybody was looking at us. I could actually "hear" the men thinking - she's gorgeous, or words to that effect, lucky bastard. And the women... The waiter interrupts, as he places the drinks on the table. Jane and Astor pick-up the glasses. JANE AND ASTOR Cheers! JANE And what were the women thinking? ASTOR Difficult to answer. JANE Why?, they were probably thinking just the opposite from the men?


ASTOR Maybe, but that is difficult to reconcile to situations where say I would walk into a wine bar alone, or with a friend - a male friend and not one single woman would so much as glance in my direction. It's something that has always baffled me. JANE It could be that we all want what we cannot have. ASTOR (smiling) Maybe. What are you going to have? Jane begins to look through the menu. JANE I don't know, everything sounds delicious...especially the desserts. ASTOR (look of complicity) Chocolate mousse? Astor's look and manner, makes Jane laugh. JANE It's unfortunate that most pleasures in life are either fattening or sinful. ASTOR (emphasizing the double meaning) I don't think it's sinful. WIDER ANGLE of the restaurant, as waiter takes the order from Jane and Astor. 29.

INT. A RESTAURANT - NIGHT Jane and Astor are now into their meal. JANE Is it difficult to write a screenplay? ASTOR It depends. Sometimes you have an idea and you can develop it into a screenplay quite quickly. (MORE)


22 ASTOR (CONT'D) But there are other times, when you have an idea, and you just spend days in front of the PC trying to develop a structure.

JANE Doesn't it make you... I don't know - anxious? ASTOR Yes, of course. Especially if I am in the middle of a script, and I begin to wonder whether some other writer has had the same idea and is writing something similar. In those situations I just dread opening a film magazine, and finding out that somebody is half-way into the filming of MY script. JANE Yesterday, you told us you had an idea for a screenplay - I'm curious. I promise I won't steal the idea. ASTOR (smiling) I want to write something that would, in some way, highlight the dangers and problems associated with "Aids". JANE That’s a coincidence! On hearing Jane's remark, Astor stares at Jane, his mouth open and a piece of food in his fork suddenly halted half-way between the plate and his mouth. JANE (CONT’D) (laughing) Relax, it's a coincidence, because my editor has asked me to write a story on "Aids". Astor now continues eating, not before acknowledging with a smile that Jane had him worried for that brief moment. NEW ANGLE of waiter bringing the dessert, Jane and Astor share a chocolate mousse, which they begin to eat with relish, and in the case of Jane an added sensuality.





Jane and Astor are at the door of the restaurant. Jane takes control of the situation. JANE Would you like to come back to my place for a drink? ASTOR That would be very nice. They both start walking towards Astor's car. When they come to cross a street, Astor takes Jane's hand, and holds it until they reach the car. 31.

INT. JANE'S APARTMENT - NIGHT Astor is in the living room; he's choosing a record. Jane appears on screen with a couple of drinks. ASTOR So, what other assignments are you working on, besides the story on "Aids"? JANE I don't know. ASTOR Well, that sounds interesting!. JANE No, what I meant is that I think I might be on to a big story, but I don't really know whether I should pursue it. ASTOR Can you tell me about it? JANE (doubtful) Well...I suppose so. Yesterday, I interviewed a call-girl, and I suspect she might be having an affair with a politician. It could be either of two, but I have a feeling that, if she is having an affair, it is with the most prominent one. ASTOR It sounds like the story every journalist dreams about. Why are you doubtful about pursuing it?



JANE I keep thinking, what right do I have to interfere in anybody's private life?. I would have no problem with exposing a fraud or a crime, but the private relationship of two individuals?. On the other hand, the politician in question, maybe deserves to be exposed. ASTOR Why do you say that?, surely he has the same rights to privacy as anyone else. JANE Of course he has, but this guy is quite an hypocrite. He is the self-proclaimed guardian of traditional moral values, and his ideology is such, that if he could, he would deny everybody the rights that he himself now enjoys. ASTOR So, what you are saying is that if he were an honest politician that respected the rights of the individual, you would possibly forget about the whole thing, but that in this case, by exposing him, you would be performing a political act. JANE Precisely. Journalism is not only about reporting, sometimes is has to be about safeguarding the inherent rights and freedom of the individual. It is unfortunate that sometimes it is used for exactly the opposite aims. ASTOR You're right. Suddenly they are both silent. CLOSE ANGLE on the faces of Jane and Astor. CLOSE ANGLE on Jane's eyes from Astor's POV. REVERSE ANGLE. CLOSE ANGLE on their lips slowly and tenderly coming into contact, just grazing. Astor caresses Jane's lips with the tip of his tongue. They kiss, caress and embrace. The sound of the music is drowned by their uneasy breathing. MOVING SHOT of Jane taking Astor by the hand, and leading him towards the bedroom.


They are now standing in the bedroom, still kissing; they begin to undress each other. Astor has difficulty with Jane's bra and Jane has difficulty with Astor's belt. They lie in bed. Astor begins to kiss Jane slowly and tenderly all over her body. CLOSE ANGLE on Astor's tongue barely touching Jane's skin, and then kissing the same spot. ANGLE FROM ABOVE (ceiling height) of Jane barely being able to continue to caress Astor, as he has now reached Jane's thighs. NEW ANGLE of Jane and Astor. NEW ANGLE of Jane and Astor. Jane is trying to pull Astor up, he remains where he is. JANE (uneasy breathing) Please come , come here. Astor slides up towards Jane's face. They kiss tenderly. NEW ANGLE of Jane kissing and caressing Astor's chest. ASTOR (softly) Don't go away. I'm just going to get something. JANE I have some here. Jane reaches for a box by some books, besides the bed, and brings out a condom. JANE (CONT’D) I'll put it on for you. CLOSE ANGLE on Jane's hands as she breaks open the foil pack and takes out the condom. She leans towards Astor (we just see her back). They continue kissing and caressing. JANE (CONT’D) Wait. Jane is on top of Astor, and her movements indicate that her hand is helping to direct Astor. Jane and Astor are making love. ASTOR (anxiously) Wait, wait for a minute, don't move a muscle. They kiss and caress. They continue making love. ASTOR (CONT’D) Tell me when you want me to cum.


JANE What? ASTOR Tell me when you want me to cum. JANE OK, OK. ASTOR Now? JANE No, no...(pause)...oooh! now! now! cum! cum!. NEW ANGLE of Jane and Astor lying on their side and looking towards each other. They are caressing. Astor begins to get up. ASTOR Let me take this off. JANE Could you bring me some orange juice? ASTOR Yes, sure. Astor leaves the bedroom. After a few moments during which Jane just lies in bed, Astor re-enters with a glass of orange juice. Jane drinks it, offering a sip to Astor. They lie side by side, caressing. 32.



ANGLE FROM ABOVE (ceiling height) of Jane and Astor lying side by side. They wake up. JANE Good morning. Jane kisses Astor. ASTOR Good morning. Jane gets up and goes into the bathroom (we hear the shower). Astor just lies in bed. Jane comes out of the bathroom wrapped in a towel. She's happy. JANE What would you like for breakfast?


ASTOR Lots of coffee. JANE There's a towel in the bathroom. As Astor walks by Jane on his way to the bathroom, he kisses her on one of her shoulders. 33.



Jane and Astor are sitting at the breakfast table, and are now fully dressed. The intimacy they shared a few hours ago is now absent. Their manner towards each other is friendly, but somewhat awkward; they are silent as if thinking what to say to each other. JANE So, what are you going to do today? ASTOR (relieved) I am meeting the "Aids Help", and have tickets for Giovanni". Would

Director of this evening I the opera- "Don you like to come?

JANE To your meeting with the Director of "Aids Help"? ASTOR To the opera, but do you also want to come to the meeting? JANE Yes, I would, I was intending to call them on Monday anyway. ASTOR And the opera? JANE I'd love to. ASTOR Great. I have to go home first, so shall we meet at "Cafe Orpheus" at one?. Do you know it? JANE Yes. "Cafe Orpheus" at one.





Jane is sitting at a table reading a newspaper. Astor comes in and goes straight to the bar where he greets PHILIP. He talks to him briefly and looks around the cafe, seeing Jane. They both go to Jane's table. ASTOR (to Jane) Jane, this is Philip, from "Aids Help". (to Philip) Jane works for the "Morning News", and she is writing a story on "Aids"...I hope you don't mind. PHILIP Not at all, on the contrary, the more information is published about "Aids" the better. It's... A waiter comes to the table. ASTOR What are you having? JANE I'll have another cappuccino. PHILIP (to waiter) Make that two. ASTOR (to waiter) Three. WAITER Thanks. The waiter leaves. PHILIP As I was saying, it's amazing how after all the articles, T.V documentaries, etc there is still such ignorance about the virus, and its effects. ASTOR Tell us Philip, what are the objectives of "Aids Help". PHILIP We have two main objectives. The first is to alert people to the dangers of "Aids", and to get them (MORE)

29 PHILIP (CONT'D) to take precautions in their sexual relationships so that they do not get infected, and at the same time check the spread of the virus. The second is to try and help those that have unfortunately been infected by the virus. The waiter brings the coffees.

JANE What methods do you...? PHILIP We publish information leaflets, we organize conferences, and when they let us, we go to schools. We also have a 24 hour telephone help-line for people who just want information, or are HIV(+) and don't know what to do. We organize group therapy sessions, and we recently opened a hostel to care for critical cases. ASTOR How do you finance all that? PHILIP (smiling despairingly) With difficulty. We are a charitable organization, so we are dependant on the donations we receive. JANE Don't you get any help from the Government? PHILIP Very little. We receive a subsidy that represents about 20% of our budget, the rest we try and raise by organizing concerts, raffles, we receive donations from some Local Authorities, and generally we just do anything that might raise some money. ASTOR Before, you were saying that people are still very ignorant about "Aids".


PHILIP That's right. Especially as to the way that the virus is passed-on, and as to the groups of people that are at risk. A lot of people still believe that the virus only affects homosexuals and drug addicts, and that heterosexuals, are somehow immune, which is obviously not true. A woman may be HIV(+) without having developed any of the symptoms of "Aids"; she might have acquired the virus by having sex with a drug addict, who in turn might have acquired the virus by sharing a syringe with somebody who was HIV(+). If this woman then has sex with an heterosexual man, he could possibly be infected. The chain doesn't necessarily stop there, as the man, may or may not develop the symptoms of "Aids", and he may continue having sexual relationships, without realising that he is HIV(+). Then, there are those who are aware of all this, but still don't take precautions. Some will say that using a condom is off-putting and that it decreases pleasure; others that when they become excited they forget to put one on. You have the "optimists", that really believe that they are immune, and those that judge on appearances, they will say: "but she didn't look ill, and she was very clean". Some women also believe that carrying a packet of condoms in their handbags, will in some way compromise their "morality", they think men will think they are easy or sluts. JANE Is there a political aspect to "Aids"? PHILIP Yes, there is a political-moral aspect, if you can call it that.


PHILIP (CONT’D) I don't know whether you happened to listen to Felix Griffiths the other day in a press conference, when he was asked whether there was going to be more information about "Aids", given to children at school. JANE Yes, I did. PHILIP Then you know what I mean. For the Right, "Aids" is God's punishment for drug addicts and homosexuals. They even reason that since the Left has traditionally, to a greater or lesser extent, made a common cause with Gay pressure groups, by punishing homosexuals, God is also punishing the Parties of the Left. ASTOR I've noticed that lately there has been an increase in incidents where gays have been beaten-up. I don't know whether it is that these incidents are now being reported more often, or if they really are on the increase. PHILIP They are on the increase, and I believe that people like Griffiths who indirectly incite this, have a lot to answer for. WIDER ANGLE of the scene as the sound of the conversation withers away. 35.



WIDE ANGLE of Jane and Astor saying goodbye to Philip. Astor hails a taxi, and Jane gets in. 36.



Jane and Astor are in their seats. WIDE ANGLE from behind Jane and Astor, taking in the stage. The opera is at the Aria in Act 1, Scene 5, "Madamina, il catalogo e questo".


(English sub-titles appear on the screen: Little lady, this is the list of the beauties my master has courted: a list I've made out myself; take a look, read it with me. In Italy six hundred and forty, in Germany two hundred and thirty one, a hundred in France, ninety one in Turkey; but in Spain already a thousand and three.) 37.



The performance has ended, and everyone is leaving the Opera House. TWO SHOT of Jane and Astor. JANE I wonder what Don Giovanni would have done if he lived today? ASTOR What do you mean? JANE Well, did they have condoms in those days? ASTOR Sure, or at least something similar. They used animals' bladders. JANE Ugh! 38.



ANGLE on Jane from below, sitting in the press gallery. NEW ANGLE of the floor of the House from Jane's POV. The Speaker gives the right to speak to an M.P on the left of the House. M.P Mr. Speaker!, Will the Rt. Hon. Member for Sixbury explain why his Government is intent in denying elementary education to the majority of the citizens of this country? Why is it that the new Education Plan, will only benefit the rich at the expense of the poor? Is the Rt. Hon. Member willing to answer, or would he rather refer the House to the specific chapters of "Mein Kampf", from were, no doubt he finds inspiration for his Government's policies?.


Uproar and shouting by all M.P's. SPEAKER (shouting) Order!, Order!. Felix Griffiths stands up. FELIX GRIFFITHS (speaking over the uproar).) I do not want to waste my time or the time of the House by entering into a shouting match with my colleague at the opposite side of the House, where, if I may say so, I hope he and his Party have found a permanent home. Uproar, shouts and waving of order papers. FELIX GRIFFITHS (CONT’D) (shouting over the uproar) I will just...I SPEAKER (shouting) Order gentleman, PLEASE!. FELIX GRIFFITHS (shouting over the uproar) I will just say this: This Government has resolved to put a stop to the legacy of waste inherited from past Governments of which my Rt. Hon. colleague OPPOSITE was a member. We are redirecting scarce resources to where they will yield a higher return. We believe that this is the right thing to do, and time will show that we are right. Uproar, shouts and waving of order papers. 39.



A car pulls-up. Sophie and a man get out of the car. NEW ANGLE of Sophie and the man, which continues as a CLOSE SHOT of Jane in the background; she is in her car looking into the shot.





Jane walks into the newsroom. She sits at her desk, switches on her PC and begins to type. NEW ANGLE of Jane looking towards the clock above the entrance to the newsroom. It reads "TUES. 12.30". She flicks through the pages of her diary and begins to dial on the phone. JANE Hi! Could I please talk to Philip? Jane Turner - Philip? - Hi! It's Jane Turner. We met last Saturday with Astor How are you? - Fine. Philip, the reason I phoned is to ask you whether you can help me with my article. Since I'm going to write it from the perspective of woman, I was wondering whether you know of a married woman, who has contracted the HIV virus through her husband. If you do, do you think she would talk to me? -OK, thanks, I'll be here most of the day, you have the number, don't you? - OK, bye. Jane continues typing on her PC. NEW ANGLE of Jane at her desk, as the phone rings. JANE (CONT’D) Jane Turner. Oh, hi! - OK, I don't have to print her real name. Jane writes down a name and telephone number. JANE (CONT’D) Thanks Philip, I'll be in touch with you soon. Thanks, goodbye. Jane cuts the call, and begins to dial a number. JANE (CONT’D) Hello, could I talk to SANDRA BROWN? - Hi, my name is Jane Turner, I believe Philip talked to you a moment ago - I was wondering whether we can meet. Good, are you free later on today? say three o'clock - do you know "Cafe Orpheus"? - yes, that's the one. OK, I'll see you there at three. Oh!, Hold on, hold on, what do you look like? - OK see you later, bye.





Jane walks into the cafe, looks around, and goes towards Sandra who is sitting at a table; they greet each other. A waitress comes and Jane orders. JANE I don't know how difficult it is for you to talk about your condition, but please stop me, if at any moment you don't feel like continuing. SANDRA (sad smile) It's OK. I find that talking to some people about it, has a kind of therapeutic effect. That's how I know Philip - I go to their weekly talks. JANE So, tell me Sandra... Waitress comes with two coffees. Jane smiles to her approvingly. JANE (CONT’D) When did you discover you were positive? SANDRA About a year ago. I have an annual check-up at a family planning clinic, and last year they introduced "Aids" testing. I remember joking with the nurse, saying that it was going to be a waste of time. I had been married for three years, and hadn't slept with other men, not even when I was single. But since they were doing the tests for some kind of research project, I agreed. They even gave me the choice of making the test anonymous, but I thought that since I was having it I might as well have the result, especially since I knew it would be negative. Two days later, I was called in, and told that the test was positive. I was shattered. JANE What happened next?


SANDRA I told JIM, my husband. He just could not believe it. We were both devastated, we couldn't even talk about it...or of how ...Then Jim was tested and he was also positive. It was then that he admitted that during a business trip to Bangkok, he had been with a girl, and that he hadn't used any protection. He claimed that he had been invited to a party, he had too much to drink, and...well... JANE What did you do? SANDRA I didn't know what to do. I was angry, afraid. I didn't speak to Jim for days. He kept saying that he didn't know what he was doing when it happened; that that was the only time he had been unfaithful, and so on. Then through the family planning clinic I was put in touch with "AIDS HELP", they have really helped me a lot these past months. JANE And Jim? SANDRA We separated. I was so angry at him, I could not bear to live in the same house. He also began to go to the weekly meetings but with a different group. At least now I can talk to him. He's in hospital. JANE So..., how do you feel physically? SANDRA Well, I suppose that after all I've been relatively lucky. I am a carrier, but up to now I have not developed any symptoms. My immune system appears to be functioning all right, but it's the psychological effect. I'm scared, I think about it a lot, and I feel like an outcast through no fault of my own. I feel like a leper, people are very cruel.





Light comes into the screen from a door that opens. A silhouette appears in the light. It closes the door and switches on a light. Jane is in her apartment. The phone rings; after the third ring the answering machine comes into operation. ASTOR (O.S.) Hi, it's me! I was... Jane picks up the phone. JANE Hello. ASTOR (O.S.) Oh, hi, how are you? JANE (tired voice) Oh, fine I guess. What about you? ASTOR (O.S.) (worried voice) Well, I have a slight problem. JANE (concerned) What's happened? ASTOR (O.S.) (doubtful) I don't know whether ...well, I was sitting here listening to some music, and reading, and suddenly, for some reason I cannot yet explain, I got up, went to the kitchen, and there it was. JANE (slightly agitated) What? ASTOR (O.S.) A bottle of champagne with a sellby date of today. What was I going to do?. I was so confused and panic stricken. I collected myself and thought "the best thing is to call Jane and ask her whether she would like to share the bottle with me". JANE (laughing) You fool! I thought something terrible had happened to you.


ASTOR (O.S.) (serious voice) Don't laugh, it's serious. All those bubbles trapped, a few hours to extinction without having fulfilled their role in life. JANE (still laughing) All right, all right! ASTOR (O.S.) (excited) I'll be there in ten minutes. 43.



The door bell rings. Jane comes out of the bedroom in evening dress, and goes towards the door. JANE Who is it? ASTOR (O.S.) The good Samaritan. Jane opens the door, and from her POV we see Astor in a dinner jacket, holding a wine bucket full of ice and the bottle of champagne in one hand, and two glasses in the other. They look at each other with an expression of surprise and begin to laugh. Astor comes in and they kiss tenderly. ASTOR (CONT’D) But how? JANE I thought that since this was so special an occasion, I should dress up. They sit down. Astor opens the champagne bottle (properly) and fills the two glasses. They toast and have a sip of champagne. ASTOR I have something for you. He takes out a folded sheet of paper from his pocket. ASTOR (CONT’D) Before I give this to you, promise not to make fun of me. I haven't done this for years, in fact the last time must have been when I was a teenager.


JANE (excited) I promise. What is it?. Jane takes the sheet of paper and begins to read to herself. ASTOR (V.O.) If love is but an illusion, why does the memory of it keep reappearing? Like the magician's trick, it's effect should just be noticed whilst it's performed. It is, the most mortal weapon, but also, at least for an instant, the most effective peacemaker. If love is but an illusion, why does the memory of it keep reappearing? We strive to obtain it, and desperately, try to discard it. It's what makes life bearable, and unbearable. If we don't have it, we cry, and we cry, when we have it. Jane looks-up towards Astor, tenderly, and she kisses him. JANE (tenderly) Thank-you (slightly embarrassed) It's very sweet. ASTOR (trying not to attach any importance to it) I just felt like writing it and... Jane kisses Astor, her eyes expressing love. 44.



The diners are sitting at round tables; the men are wearing dinner jackets and the women evening dresses; there is an air of opulence, which is emphasized by the glitter of jewellery, and the constant serving of champagne.


There is a speakers platform, with a banner behind it reading: "Association for Victorian Values - Annual Dinner". ANGLE on Felix Griffiths at one of the tables. CUT 45.


TO: 45.

Men and women are drinking, talking, and generally having a good time; the atmosphere is relaxed and cordial. 46.



ANGLE on a commissionaire, as he steps on to the speakers platform, and by banging a big wooden pole on the floor calls the diners attention. COMMISSIONAIR (loudly) My Lords, Ladies and Gentlemen, kindly rise for the toast. Everybody rises with a glass in their hand. COMMISSIONAIR (CONT’D) (loudly and with too deep a sense of respect) THE QUEEN! ALL DINERS THE QUEEN! COMMISSIONAIR Now please welcome your Chairman The Rt. Hon. Felix Griffiths MP. You may now smoke. Everybody has risen again, and are applauding. ANGLE on Felix Griffiths as he stands gratefully acknowledging the welcome, and goes towards the speakers platform. FELIX GRIFFITHS My Lords, Ladies and gentlemen The applause continues. FELIX GRIFFITHS (CONT’D) Thank-you. Thank-you. The applause dies down. FELIX GRIFFITHS (CONT’D) My Lords, Ladies and Gentlemen, it gives me great pleasure to be here tonight. (MORE)

41 FELIX GRIFFITHS (CONT’D) It is the one occasion in the year to which I always look forward to, because it is the one occasion when I know that my words do not fall on deaf ears. You are the people who understand what I mean when I say that our beloved country has entered a period of moral decay. It is sad to have to say this, but I find solace in the sure knowledge that with YOUR help, we shall raise above the hoards of homosexuals, lesbians, child molesters, pornographers, drug addicts, and the left-wing politicians that support them.

All the diners applaud, and some have stood-up. FELIX GRIFFITHS (CONT’D) We have God on our side, and in the same way that he sent the seven plagues to the unbelieving pharaohs, today he is helping our cause by sending the plague of "Aids" to punish the deviants. All diners applaud, and stand-up. 47.



ANGLE on three rough-looking men standing at the bar; they have clearly had a lot to drink, but are not completely drunk. MAN 1 Fucking puffs! MAN 2 Where? MAN 1 Fucking everywhere. You can't pull a bird these days. It's all their fucking fault. MAN 3 What the fuck are you talking about? MAN 1 Well it is, in it. It's all this "Aids". The birds think they're going to catch it. (MORE)

42 MAN 1 (CONT'D) And they want you to wear fucking condoms. I say we kill the fucking bastards.




Felix Griffiths is in the speakers platform. FELIX GRIFFITHS do not despair, the Victorian Values that once made this Country great, and ruled over an Empire, will once again become the thrust of our beloved England. All diners applaud and stand-up. 49.



Two men come out of the pub; one is holding the other by the arm; they begin to walk down the poorly lit street. Suddenly, out of nowhere, the three rough-looking men of scene (47) come-up behind them. They push them against a wall, and start punching them. ROUGH MEN Fucking puffs, we're gonna kill you. 50.



Felix Griffiths has ended his speech and is back at his table. He is toasting with other diners. CLOSE ANGLE on the two glasses as they are about to touch. 51.



CLOSE ANGLE on the foot of one of the rough-looking men as he is about to kick the head of one of the men that has come out of the gay pub in scene (49). 52.



CLOSE ANGLE on the two glasses in scene (50) touching for the toast. NEW ANGLE as Felix Griffith , who has an evil look, as if he knew what was happening in the dark street, takes a sip from his glass.





Jane is sitting at her desk, thinking. She gets up and begins to walk towards Mike's office. As she approaches, Mike comes out of his office putting his jacket on. MIKE Hello Jane. How's the story coming along? JANE Fine, just fine. MIKE Where you coming to see me? JANE It's OK, you're going out. It can wait. MIKE OK, I'll see you later, I'm late for a meeting. Mike goes and Jane walks back to her desk. She looks around as if she was hiding something. She flicks through the pages of her diary and begins to dial on the phone. JANE Good Morning. My name is Jane Turner of the "Morning News". I was wondering whether I could speak to Mr. Griffiths - OK - Mr. Joy? Good morning, my name is Jane Turner of the "Morning News" - well, I was wondering whether I could interview the Minister - No, I am not on the political desk, I am writing an article on "Aids" and was interested to hear the Ministers views at a press conference he held last Friday to announce the new Education Plan - yes - OK, I'll wait for your call. Thank you. NEW ANGLE of Jane at her desk, making some notes. The phone rings. JANE (CONT’D) Jane Turner - Oh, hello - yes, three o'clock is fine thanks.





Jane knocks on the door of an office. The voice of Felix Griffiths is heard behind her. FELIX GRIFFITHS Jane Turner?. JANE (turning around) Yes, good afternoon. They shake hands. FELIX GRIFFITHS Please come in. JANE Thank-you. They go into the office, and Felix Griffiths indicates to Jane to sit on a sofa; he sits in an armchair opposite. Jane sits down and brings out her mini-cassette recorder. FELIX GRIFFITHS Well Jane - you don't mind if I call you Jane? - the floor is yours. JANE First of all I would like to thankyou for seeing me at such short notice. FELIX GRIFFITHS Anything for Mike. JANE (surprised) Mike? FELIX GRIFFITHS Your editor. He must have told you that we were at Oxford together. JANE (appearing absent-minded) Oh yes, yes, of course. Minister, last Friday at the press conference you called to announce the new Education Plan, you briefly expressed your views as to the problem of "Aids". (MORE)

45 JANE (CONT'D) You appeared to infer that "Aids" is a well deserved punishment for people that engage in what you called "devious behaviour". Is this correct?.

FELIX GRIFFITHS Yes, it is. Jane, are you a believer? JANE Believer in what?. FELIX GRIFFITHS In God, of course. JANE No, I'm not. FELIX GRIFFITHS Well Jane, if you did believe in God, you would accept that he sometimes behaves in a very mysterious way. I think that he has sent "Aids" to punish those people whose behaviour goes against basic Christian principles. JANE (trying to contain her incredulity) Isn't that argument slightly far stretched?, He doesn't seem to punish all forms of devious behaviour, and in any event, the virus is not only spreading within the Gay community and drug addicts, but is also affecting heterosexuals. FELIX GRIFFITHS In answer to... Felix Griffiths is interrupted by his phone ringing; he goes to his desk and picks it up. FELIX GRIFFITHS (CONT’D) Hello - OK put her through -hello? -listen, I'm in the middle of an interview, I'll call you back. Uh, hold on (looks through his diary)-OK, eight o'clock, I'll see you later. Felix Griffiths returns to the armchair and sits down.


FELIX GRIFFITHS (CONT’D) I'm sorry about that. (sneezes) Excuse me. JANE It's OK. FELIX GRIFFITHS Where was I? - oh yes - you were arguing that not all devious behaviour is punished, but believe me it is, in one way or another, it always is. As regards to heterosexuals contracting the HIV virus; there are those that have acquired the virus through blood transfusions, this is very unfortunate and we are doing everything in our power to prevent this happening. There are also those who have contracted the virus accidentally. Those who are not in these groups, must have engaged in some form of devious behaviour or have been associated with people who have. JANE Are you suggesting that because these people have, in your opinion, engaged in devious behaviour, they are not going to be helped by the government? FELIX GRIFFITHS No, of course not. (sneezes) The Government has poured substantial amounts of money into research to try and find a vaccine to fight the virus, and into public awareness campaigns. JANE Why try and fight the virus, if as you say, it is a punishment from God? FELIX GRIFFITHS There is also such a thing as forgiveness, and Christian charity. JANE Even with those, your critics claim that the Government is not doing enough.


FELIX GRIFFITHS It is not the Government's fault, that people suffer from "Aids"; apart from those accidental cases which I have already mentioned, the rest are self-inflicted. If people observed traditional moral and family values, we would not find ourselves in this situation. And despite this, the Government does everything in its power to try and help these people. The intercom buzzes. Felix Griffiths makes a gesture of apology and gets-up to answer it. FELIX GRIFFITHS (CONT’D) Yes?. SECRETARY (O.S.) I am sorry to interrupt Minister, but I have DR. FERGUSON'S surgery on the line. He can see you at three tomorrow. FELIX GRIFFITHS (looking at his diary) That's fine. Please make the appointment. Felix Griffiths begins to walk back to the armchair. Jane gets up. JANE Nothing serious, I hope? FELIX GRIFFITHS No, just the beginnings of the flu, but I have a very busy schedule for the next few days, and I just need some antibiotics to keep me going. JANE I hope you get better. Well, I think I have everything I need. Thank-you very much. FELIX GRIFFITHS My pleasure. Oh, and please give my regards to Mike. JANE I'll do that. Goodbye.





Jane's car is parked diagonally opposite the entrance to the block of apartments. 56.



Jane is in her car. She looks at the car clock. CLOSE ANGLE on clock, it's 19:55. A car enters the street, and drives-by without stopping. NEW ANGLE of Jane, she appears uncomfortable; she looks towards the car clock. CLOSE ANGLE on clock, it's 20:15. She looks towards the apartment block, ANGLE on two windows, there is light inside. NEW ANGLE of Jane, she looks gesture, starts the car, and minded. She comes to the end there is a "right turn only"

at her wrist-watch, makes a drives-off. She appears absentof a street and stops, looks-up, sign.

JANE Shit! As she follows the sign, she comes full circle to the street where Sophie lives. She stops at a set of traffic lights. Waiting for the lights to change, she looks to her left and sees Felix Griffiths at the wheel of the car besides hers. She pretends she hasn't seen him and looks the other way. The lights change and Jane drives straight ahead into the street where Sophie lives. She looks into the rear-view mirror, and sees that Felix Griffiths has signalled and is turning left. She does a dangerous three-point turn (a car behind her has to break suddenly; the driver sounds the horn). Jane drives along various streets, but cannot see Felix Griffith's car. 57.

INT. MIKE'S OFFICE - DAY Mike is at his desk, reading a paper. The phone rings. MIKE Yes? -- hum, yes, put him through -Felix! How are you? -- fine --Jane Turner? Yes, she works for me, but - what? -no, I didn't know -- SHE WHAT? -- are you sure? -- no Felix, I swear I don't know what she's up to (lowering his voice,) (nearly whispering,) (and nervous) No, I haven't forgotten. Don't worry Felix, I'll take care of it. Yes, goodbye Felix.



Mike is sweating and nervous, he dries his forehead with a handkerchief. He goes out of his office and looks towards Jane's desk. He makes a sign for her to come over. REVERSE ANGLE on Jane, by her facial expression we can guess that she is thinking that Mike has found out about her interview with Felix Griffiths. 58.

INT. MIKE'S OFFICE - DAY Mike has returned to his desk. Jane comes in, and he indicates to her to close the door. MIKE Guess who I have just had on the phone? JANE (looking surprised) I don't know, who? MIKE Felix Griffiths. Does the name ring any bells with you? JANE (looking apologetic) Mike, I... MIKE (interrupting) He called to say hello, prompted by your visit. (angry) What the hell do you think you're doing? JANE I'm sorry Mike, I just wanted to interview him because of the comments he had made on "Aids". MIKE But you know that all interviews with politicians have to be cleared through me. You're not working on something else I should know about? JANE No, of course not. What would I be working on? It won't happen again, I promise. MIKE It better not. And by the way, what about your article? I haven't seen anything yet.



JANE You'll have a first draft in a couple of days. MIKE OK, and from now on, stay away from Felix Griffiths. JANE I promise. Jane walks out of the office, as Mike looks-on. NEW ANGLE of Jane, back at her desk, she picks up the phone and dials. JANE (CONT’D) Astor? Hi, it's me?. Listen can you make lunch today? Good, where shall we meet? -- yes, I know it -- at one?, OK see you there. 59.



Jane walks in. She sees Astor sitting at a table and goes towards him; they kiss. ASTOR Are you OK?, You sounded a bit abrupt on the phone. JANE I'm sorry. I'm OK, but I need your help. ASTOR What is it? JANE Do you remember the other day I told you I might have stumbled onto a story? ASTOR The politician and the call girl. JANE Yes. Well, now I'm convinced it's true. ASTOR What's... Astor is interrupted by a waiter. Jane and Astor look at the menu.


ASTOR (CONT’D) I'll just have the veal. JANE I'll have the same. ASTOR (to Jane) What would you like to drink? JANE Mineral water. ASTOR (to waiter) I'll have a very cold beer. WAITER Thank-you. The waiter leaves with the order. ASTOR What's happened to make you so sure? JANE I'll start from the beginning. Well, as I told, I went to interview a call girl, for my story on "Aids" - her name is Sophie. I went to her apartment, and while we were talking, Rachel, a girlfriend of hers was also there watching T.V. The news came on, and Rachel pointing to the T.V, called out to Sophie "isn't that your friend?". Sophie replied with a firm "no", but she became very agitated. The newscaster was reporting on a news conference held that afternoon by (lowering her voice to a whisper) - Felix Griffiths. ASTOR The Cabinet Minister?. JANE The abrupt denial of Sophie, made me suspect that she did in fact know one of the men that appeared on the screen. One was Felix Griffiths, the other Sir. John Rivers -who is a senior Civil Servant. There were another two men, who I didn't recognize, but they looked like the bag carriers. (MORE)

52 JANE (CONT'D) I began to press Sophie to tell me what kind of men she entertained, to see whether she said something that would give me any clues, but she just replied that they were mostly businessmen, and she became very defensive. When I suggested, as an example, that even Ministers like Felix Griffiths might sleep around, catch the HIV virus, and pass it on to her, she replied: "he doesn't". She didn't say "he wouldn't", she said HE DOESN'T. I think she immediately realised what she had said, because she rectified it by saying: "what I mean is that surely a Minister doesn't sleep around"

Jane is interrupted by the waiter bringing the food and the drinks. JANE (CONT’D) On Monday morning, I went to the House of Commons, and watched Griffiths from the press gallery, and that night I watched Sophie's apartment. ASTOR Did he come?. JANE No, I saw Sophie arrive with some guy, so I left. The following day, I was going to ask Mike -my editor- whether I could arrange an interview with Griffiths. My reason was going to be that he had commented about "Aids" in the press conference. It was only because when I went to Mike's office, he was leaving, that I didn't ask him. So, I called Griffiths office anyway, and to my surprise, I was told that he would see me that same day. ASTOR It is surprising. JANE Not really. When I got there, he asked me how Mike was. It seems they were at Oxford together.


ASTOR Shit! A waiter that is passing-by at the precise moment that Astor makes the exclamation, stops at the table. WAITER (to Astor) Excuse me Sir, is there something wrong with your food? ASTOR No, no, everything is fine. The waiter leaves, and Jane and Astor begin to laugh. JANE That's what I thought. ASTOR So, what happened? JANE I tell you, this guy is something else, he could do well in the States as one of those T.V preachers. I sat there listening to him rambling about how, through "Aids", God was punishing gays and drug addicts, and people who sleep around. If he is Sophie's "friend", and I just know he is, the guy is either insane, a double-faced bastard, or a very good actor. ASTOR But, why did you go to see him? You didn't expect him to just sit there and say: yes, Miss. Turner... JANE (interrupting) He calls me Jane. ASTOR OK, Jane. Yes, as a matter of fact, I know a call girl called Sophie, with whom I sleep every other day. JANE No, of course not, but I just needed to talk to him in person. I don't know, just to know how sometimes by talking to someone, you can get a feel of how that person is. (MORE)

54 JANE (CONT'D) And as you know, I had reservations about following-up this kind of story.

ASTOR Had? JANE Yes, HAD. This guy deserves to be exposed, he's dangerous. ASTOR Go on. JANE While I was in the office, we were interrupted twice. The first time, the phone rang, and he asked, I presume his secretary, to put HER through. It was a brief conversation, which ended by him agreeing to see HER that evening at eight. The second time, he spoke to his secretary on the intercom, to fix an appointment with a Dr.Ferguson at three o'clock today the poor man has a cold. ASTOR (knowingly) So you went to Sophie's apartment last night. JANE Yes. I waited, and waited but nothing happened. I drove-off, but as my mind was somewhere else, I took a wrong turning, and came full circle back to the beginning of the street where Sophie lives. I had to wait at a set of traffic lights and as I looked to my left I saw Griffiths in a car. I looked straight ahead, hoping he hadn’t seen me. I drove straight over into Sophie's street, and he turned left. I was going to follow him, but by the time I had turned around he was long gone. ASTOR I could write a screenplay about this.


JANE There's more. This morning, Mike called me into his office, he was very angry. He said that Griffiths had called to say hello, and he happened to mention our interview. I made excuses and explained that I just wanted his views on "Aids". He calmed down, but told me to stay away from Griffiths. ASTOR But, I don't understand, why was Mike angry? JANE Because all interviews with Ministers, and senior politicians, have to be cleared through him. But, I think that Griffiths also saw me last night and phoned Mike to find out what was going on. ASTOR Could be. I suppose this is where I come in. JANE Yes. It's too risky for me to follow Griffiths, so... (her tone of voice changes) ...I was wondering whether you could do it... (her tone of voice changes) (again) ...I'll give you the rights to the screenplay. ASTOR (smiling) OK, I'll do it, but on one condition... JANE What? ASTOR You have dinner with me tonight. JANE Deal. ASTOR Where do I start?


JANE Well, we know he has the doctor's appointment at three, and I've checked, there is only one Dr. Ferguson in Harley Street. ASTOR Why Har...yes, of course. JANE Here's the address. 60.



Sophie is sitting in the sofa having a drink. The lights are dimmed. SOPHIE What's the matter? You seem tense. WIDER ANGLE of the apartment, which now takes-in one of the windows. In the shadows we see the silhouette of a man with his back to Sophie. As he turns round and comes into the light, we begin to make-out that it is Felix Griffiths. FELIX GRIFFITHS You haven't by any chance been talking to any journalists?. SOPHIE (surprised) Yes, a couple of days ago. How do you know? Felix Griffiths expression has now changed to one of concern. FELIX GRIFFITHS Who was it?. SOPHIE Jane...Jane... FELIX GRIFFITHS Turner?. SOPHIE (still surprised) Yes!, but how...?. FELIX GRIFFITHS What did she ask you?.


SOPHIE She said that she was writing a story on "Aids", and asked me all these questions about whether I used condoms, and what type of men my clients were. FELIX GRIFFITHS Was my name mentioned?. SOPHIE Of course not!. FELIX GRIFFITHS Think carefully. SOPHIE Well, there was something, but ... FELIX GRIFFITHS What?. SOPHIE Well, Rachel was also here watching T.V., and when they showed you at some press conference, she shouted out to me "isn't that your friend?". I just said no, and carried-on talking. FELIX GRIFFITHS What did Jane say?. SOPHIE Nothing really. She was talking about people sleeping around, and I suppose that because you had just been on T.V, she said that maybe even you slept around. I replied that surely Ministers didn't do that sort of thing, and that was it. FELIX GRIFFITHS Damn!. SOPHIE (impatiently) But, what's wrong?. FELIX GRIFFITHS She suspects, and by now she's probably convinced that we see each other.


SOPHIE How can she?, I didn't say anything, I swear. FELIX GRIFFITHS Don't worry about it, but if she phones you, or comes over, don't speak to her. SOPHIE OK. 61.



Jane opens the door. Astor comes in. They kiss. JANE I'll be ready in a minute. So what happened?. ASTOR I saw Griffiths go into the surgery at three, and he came out about half an hour later. That's it. JANE Go on. ASTOR I followed him to the Houses of Parliament. JANE Oh well. OK I'm ready. ASTOR Good!. I'm starving. It's hard work being a spy. JANE Where are we going?. They're leaving the apartment. Jane switches off the lights at the same time as she opens the door. Light comes in from the corridor. At the precise moment that she is closing the door, we hear Astor's voice. ASTOR (O.S.) It's a very nice... Door closes. 62.

INT. MIKE'S OFFICE -DAY Mike is at his desk. The phone rings.



MIKE Yes? -- OK put him through -- hello Felix! -- yes sure, but -- OK, I'll see you there in half an hour. 63.



Felix Griffiths and Mike are walking along. MIKE This feels like a spy movie. FELIX GRIFFITHS Don't be ridiculous. Did you have a word with your young lady?. MIKE (belittled) Yes I did. It's OK, there's nothing sinister, she's just very impulsive. I asked her to write an article on "Aids"; she listened to your remarks on "Aids" at your press conference, and thought it would be a good idea to interview you about it. The fact that you saw her the other night, was possibly just a coincidence. FELIX GRIFFITHS I don't believe in coincidences, especially after last night. MIKE You didn't see her again?. FELIX GRIFFITHS No, I saw a lady friend of mine. MIKE Ah!. FELIX GRIFFITHS Don't act the puritan on me. I do enough of that for both of us. Her name is Sophie, very discreet. A couple of days ago, your Ms. Turner interviewed her. Whilst they were talking, the news came on T.V and they reported on my press conference. Rachel, a friend of Sophie who was also in the apartment, must have recognized me and shouted over to Sophie. (MORE)

60 FELIX GRIFFITHS (CONT'D) She denied it, but I'm sure your Ms. Turner must have suspected something. You see now why I don't think it was a coincidence. She's following me.

MIKE (surprised) Yes, I see. But what... FELIX GRIFFITHS I don't know how much she's got, but I can't risk the story coming out. MIKE I won't publish it. FELIX GRIFFITHS You're not the only paper in London. MIKE (embarrassed) No, of course not. But then how can you stop her? FELIX GRIFFITHS Well Mike, this is where you come in. We have to discredit her. MIKE Look Felix, I don't know... FELIX GRIFFITHS (forceful) You will do what I tell you to do, because if I go down, I'll drag you with me, and you know I have enough on you to do it. MIKE (lowering his voice) OK...what do you want me to do? Felix Griffiths begins to cough violently. MIKE (CONT’D) Are you OK?. FELIX GRIFFITHS Yes, yes, it's just a cold... We are going to give her exactly what she's looking for - a sex scandal.


MIKE Who? FELIX GRIFFITHS Sir John Rivers. He was with me at the press conference. MIKE Sir John Rivers! I never would have... FELIX GRIFFITHS You still don't understand, do you?. The story will be false, John will just be the bait for Ms. Turner. She will get the story from Sophie, you will publish it, and John will sue for libel. MIKE But... FELIX GRIFFITHS You will then allow River's solicitors to examine the evidence, which will determine it was all fabricated. You will then have to fire Ms. Turner and publicly apologize to Rivers, putting all the blame on an over-ambitious young journalist. It won't even come to court. MIKE But Sir John might not be so forgiving. I can't involve the paper in a libel suit. FELIX GRIFFITHS Don't worry, John will do whatever I ask him to do. MIKE And the evidence? FELIX GRIFFITHS Just leave everything to me, I didn't spend all those years attached to the Security Services for nothing. 64.

INT. NEWSROOM - DAY Jane is at her desk. The phone rings.



JANE Jane Turner -- hi Sophie, how are you? -- are you OK? -- well... Jane looks up at the clock above the entrance to the newsroom. It shows FRI. 17:30. JANE (CONT’D) ...OK, I'll see you at nine. Jane hangs up the phone; she's pensive for a few seconds, and then picks it up again and begins to dial. JANE (CONT’D) Astor, hi. Listen, can we make it a little later? -- I don't know exactly, I suppose around ten thirty or eleven -- I'll come round to your place when I'm finished -that will be nice! -- I'll see you later. 65.



Sophie opens the door to Jane. SOPHIE Hi, come in. JANE You sounded very nervous over the phone, what's wrong? SOPHIE Here. Sophie gives Jane an envelope. Jane opens it and brings out some photographs and a tape; she looks at the photographs and is surprised. JANE This is Sir John Rivers. SOPHIE Yes. JANE But, why are you giving me this?. SOPHIE The bastard double-crossed me. A year ago, he promised that he would leave his wife and marry me. The other night I confronted him and the bastard laughed at me; (MORE)

63 SOPHIE (CONT'D) he said: "do you really think I am going to give up everything for a whore?". I want to ruin him.

JANE Do you want money?. SOPHIE No, I just want to see the bastard ruined. JANE But these photographs and the tape, how?. SOPHIE I have a friend who is very good with cameras and things. I have always kept photographs and tapes of at least one session with all my clients. I am not as dumb as I look. JANE No, you're not. I mean... SOPHIE It doesn't matter. Will you print it?. JANE I will have to show all this to my editor. If he decides to go ahead he will want all this checked out by experts. SOPHIE OK, just let me know when. 66.



Jane and Astor are sitting on the floor. Astor is looking at the photographs. Jane plays the tape and they listen to only part of it. ASTOR So it wasn't Felix Griffiths after all. JANE It doesn't look like it. Sir John was also at the press conference, but ...I was so sure it was Griffiths.


ASTOR What happens now?. JANE I'll show it to Mike tomorrow, and I suppose he'll start the ball rolling, and have all this checked. ASTOR You're not happy about it. JANE No, I'm not. Sir John Rivers! He'll be ruined, and for what? For being unfaithful to his wife and lying to Sophie. In the case of Griffiths it would have been different, but Rivers. ASTOR Don't give it to Mike, tell Sophie to go to another paper. JANE I have to give it to Mike. Had I stumbled onto the story as I thought I had, I could have easily just forgotten about it, but this is different. 67.



Jane is in Mike's office. Mike is looking at the photographs, and listening to the tape. He looks surprised. MIKE Sir John Rivers!. He would be the last person I would picture in a situation like this. JANE I know. What are you going to do?. MIKE First, I'll have all this checkedout, and in the meantime you can write the story. If these are genuine it will be first page on Monday. Jane comes out of Mike's office, goes to her desk and begins typing on her PC. Mike comes out of his office with the envelope.


MIKE (CONT’D) (to Jane) I know somebody who can check this. Leave the story on a disc inside my top drawer. I'll call you at home later today, or tomorrow morning. 68.



Jane is at the breakfast table reading the paper. INSERT SHOT of headline that reads: "Sir John Rivers in call girl scandal", the article is signed by Jane Turner. 69.



There are a group of journalists and photographers. A car stops, and as Sir John Rivers steps out of it, there is a scuffle between the journalists and photographers to get near him. Camera flashes go, and we hear journalists asking Sir John Rivers to comment on the mornings news. Sir John Rivers who is being protected by two bodyguards stops to make a statement. SIR JOHN RIVERS Gentlemen, the only thing I am going to say is that this morning's story in the "Morning News" is false. I have never been involved with a call girl, and my lawyers are preparing to file a libel suit against the paper. That's all. Please gentlemen... 70.

INT. NEWSROOM - DAY Jane enters the newsroom. As she walks towards her desk, people are congratulating her. She smiles guardedly. She leaves her handbag at her desk and goes to Mike's office. JANE Good morning. MIKE Good morning Jane. Well, the whole town is talking about it, congratulations. JANE What has Sir John said?. MIKE He has denied it, and has said that he's suing us for libel. (MORE)


66 MIKE (CONT'D) I anticipated this, so I have already spoken to our lawyers. They think that once Sir John's solicitors see the evidence and have it checked, they will advise him to drop the libel suit.

JANE OK, well, I suppose I'd better get back to my "Aids" story. MIKE Yes, but when you finish it, we have to talk. I think you're ready to do other things. JANE Thanks. 71.



Jane is visiting a hostel for "Aids" sufferers. (This scene will be shot in an actual hostel, with real patients. Jane will be (OS) when they are interviewed). 72.



Jane and Tania are at the door of the house. Tania rings the bell. JANE (to Tania) I still don't know how I let you talk me into this. I don't believe in fortune tellers. TANIA Lisa is different. You'll see. The door of the house is opened by LISA, who is in her early thirties, wearing jeans and a T-shirt. LISA Hi!, come in. TANIA Hi Lisa, this is my friend Jane. JANE Hi. The three go into the sitting room, which is light and airy. Lisa hands a deck of tarot cards to Jane.


LISA (to Jane) Just shuffle them. Jane shuffles the cards and gives them back to Lisa, who picks-up five cards, placing them upside-down on the table. NEW ANGLE as Lisa turns over the last of the five cards. LISA (CONT’D) I see that you are going to have a problem, that will partly solve itself by a visit to the doctor. JANE Am I going to fall ill?. LISA No, it's not an illness. You have enemies, who will try to compromise you. JANE (concerned and curious) Enemies? ...who?, and what has a visit to the doctor has to do with it? LISA I don't know. That's all I can tell you. 73.



Jane walks into the newsroom, and as she is sitting at her desk, Mike's secretary comes over. SECRETARY Jane, Mike would like to see you NOW. Mike's secretary and Jane walk towards Mike's office. Jane goes in. MIKE Jane, sit down. You know ANDREW SMITH from our legal department. JANE Yes. (to Andrew Smith) How are you?. Andrew Smith nods.


MIKE (worried) Jane, we have a problem. The examination of the photographs and the tape carried out on the instructions of River's solicitors, has concluded that they are not genuine. JANE (surprised and unbelieving) But that's impossible. You had them checked before printing the story. If they are not genuine, surely your expert or whatever, would have seen it. MIKE Unfortunately, they are so good that even he was fooled. JANE (still not believing what's happening) But... ANDREW The only way out source, the call forward and make

SMITH now is for your girl, to come a statement.

MIKE And you'd better get on to her straight away. JANE (confused) Yes, I'll do it now. Jane leaves the office, goes to her desk, picks-up her handbag and leaves the newsroom. 74.



Jane is standing in the middle of the apartment. It is completely empty; even the furniture has gone. Jane notices the presence of somebody at the door, she turns around and sees an OLD LADY. OLD LADY Hello dear! I thought I heard someone. JANE Hello. Do you live here?.


OLD LADY Next door. JANE Do you know what’s happened to the girl that lived here?. OLD LADY She's gone. Yesterday. One of those big lorries came and took everything away. Is she a friend of yours?. JANE You wouldn't know where she's gone?. OLD LADY I'm sorry dear, I don't. Anyway I have to go - have to take Rosie out for her walk. Goodbye. JANE Goodbye. Jane is leaving the apartment. She holds the door, looks back and leaves. ANGLE on closed door (hold). 75.



Mike is at his desk. Andrew Smith is sitting on the sofa and Jane in a chair halfway between both. She looks sad and confused. ANDREW SMITH Well, I don't think you need me anymore, so I'll say goodbye. He gets up, makes a gesture, and leaves. JANE What happens now?. MIKE We'll publish the apology that Sir John wants, and... I'm afraid you will have to go. I'm sorry Jane. JANE But, I, ... I didn't do anything wrong. You had the evidence checked and it appeared genuine.


MIKE I know, but certain people don't see it that way. They think you had the evidence fabricated, and the fact that your source has disappeared doesn't help. JANE I hope you know me enough to know that that is not true. MIKE It's reached a point where what I think or say doesn't matter. A head has to roll. You can clear your desk now, and personnel will send you a cheque. It will be a generous settlement, so if I were you, I would go away to some sunny beach and try to forget about this business. Mike holds Jane to walk her to the door of his office. MIKE (CONT’D) Don't worry, these things are very easily forgotten. When you come back, nobody will remember it. Jane leaves Mike's office, and closes the door behind her. ANGLE on closed door (hold). 76.



Jane is lying asleep in the sofa; from her facial expression she appears to be dreaming. LISA (O.S.) Enemies... to compromise you.. doctor. Jane is moving uncomfortably, she appears to be having a nightmare. LISA (O.S.) (CONT’D) Enemies... to compromise you.. Doctor. Jane is awoken by the constant ringing of the entry phone. After a moment she goes towards it. JANE (tired voice) Hello?.


VOICE OF ASTOR Jane, open up will you?. Jane buzzes the entry phone, and also opens the door of the apartment, returning to the sofa. Astor comes in, goes towards Jane and kisses her. ASTOR I've been trying to get hold of you all evening, I was worried. JANE I'm sorry, I just didn't want to... (begins to cry slightly) to... (she composes herself) Have you seen the evening paper?. ASTOR Yes. You do realise that you have been set-up. JANE Yes, that's what I've been thinking about all afternoon. I'm now convinced that I was right about Griffiths, and that (picking-up the evening) (paper) he is behind all this. He must have convinced Sophie to feed me the false story, but I can't understand how Mike and Rivers got involved. ASTOR I don't know, but he may have something on them. He was at Oxford with Mike, and you told me that everybody thought he was attached to the Security Services... So, what's our next move?. JANE I don't know, there isn't much I can do, is there?. I've been discredited and I can't prove it. And after this there won't be a paper in London that will hire me. ASTOR Why can't you prove it?. JANE Well, Sophie has disappeared and Mike and Rivers are unlikely to talk. Any ideas?.


ASTOR You could continue your investigation into Griffiths. JANE What good will that do? It's fairly unlikely that he will continue to be involved with Sophie. ASTOR What about what you already know? Is there something that you might have overlooked? Sometimes the solution to a big problem is a minute detail that everybody has overlooked. JANE (thinking) I can't think of anything. Hold on! LISA (O.S.) Doctor, doctor, doctor... JANE (at the point where we hear Lisa say doctor the second time) Doctor!. ASTOR Doctor?. JANE Yes, Tania somehow convinced me to go with her for a reading of my Tarot cards. Lisa, that was the name of the lady, said that I would have problems and that they would be partly solved by a visit to the doctor. When I asked her whether I was going to fall ill, she said it wasn't because of illness; she said that I had enemies and that they would try to compromise me. It's incredible. But what has a doctor got to do with it?. Jane and Astor are both silent, thinking. Suddenly, they look at each other, and at once shout: JANE AND ASTOR Dr. Ferguson!. ASTOR But, what about Dr. Ferguson?.


JANE I don't know, but I can't think of anything else. ASTOR OK, OK, think about this. Just suppose that Sophie became pregnant ...unlikely, but just suppose for a minute that she did. She tells Griffiths it's his child, that for the last months she has only been seeing him, and that it cannot be anybody else’s. JANE (incredulous) Very unlikely. ASTOR OK, but just suppose. Sophie wants to have the child, she sees it as a way out. Griffiths is loaded, and he can afford to keep her and the child. Now, Griffiths cannot allow Sophie to have the child, that’s obvious, so he goes to see Ferguson to ask him to perform an abortion. JANE OK, but what about Sophie? ASTOR Well, either Griffiths manages to convince her not to have the child, or... JANE OK, we don't have anything better to go on, but how do we find out? ASTOR Doctors are very meticulous, Ferguson must have made a note somewhere, even of something like this. Maybe a diary or something. JANE Even if he has, he's not just going to hand it over to us. ASTOR No, of course not. That's why tomorrow night we break into his surgery and find out.


JANE (surprised) You can't be serious. ASTOR Why not?. JANE In the first place it's illegal and in the second place, I can't break into a tin, let alone a house. ASTOR Trust me. I wrote a screenplay for the New York Police Department once -it was a training film. They actually showed me how to pick a lock. JANE Well, that's OK then. ASTOR We have to give it a try. 77.



Jane and Astor arrive at Dr. Ferguson's surgery; they are at the front door of the house. JANE I'm terrified. ASTOR (trying to hide the fact that he is feeling the same way) Don't worry. Just keep your eyes open. JANE What about alarms. ASTOR There isn't one. JANE How do you know?. ASTOR We'll find out soon enough. Astor brings out a set of small "burglar" tools from his pocket.


JANE Where did you get that?. ASTOR From a film studio, a friend of mine..., but why am I telling you all this?. Just keep a look-out. Astor starts picking the lock; it is obvious he has not done it before. JANE (anxious) Hurry up!. ASTOR Do you want to try it?. JANE No, but I thought you were an expert at this. ASTOR It worked in the film. JANE Oh no!. ASTOR What, what?. JANE It's a policeman. He's coming this way. ASTOR Shit!. Jane, quickly embraces Astor, who is caught by surprise, and begins to kiss him passionately. The policeman walks by, he smiles, and continues walking without saying anything. ANGLE on Jane as she continues to kiss Astor, and at the same time is trying to keep sight of the policeman. WIDER ANGLE as the policeman turns the corner. Jane pushes Astor away. JANE OK, he's gone. ASTOR Pity, I was enjoying that. Astor continues to fiddle with the lock for a few seconds. ASTOR (CONT’D) Come on.


JANE (surprised) It's open!. ASTOR Of course it's open!. Jane and Astor go into the house; Astor lights a small torch. They are walking hand in hand, nervous, looking for Dr. Ferguson's office. They suddenly hear a creaking door opening; they are paralysed. Astor switches off the torch. In the dark, the creaking of the door is once again audible. Suddenly the glaring eyes of a cat are seen. Astor switches the torch on again; they both compose themselves and continue looking. Astor directs the torch towards a door, a plaque reads: Dr. Ferguson. The door is unlocked. They go in. Jane trips on the carpet. ASTOR (CONT’D) (whispering) Be careful!. JANE (whispering) I'm sorry. Astor directs the torch once around the room. He now directs it towards a filing cabinet. He leads Jane to it. He tries to open it but it is locked. ASTOR Here hold the torch. Astor takes out his "burglars" kit, and this time picks the lock at the first attempt. JANE Very good!. ASTOR (false modesty) It's nothing. Astor opens the cabinet. They both begin to look through the files, until they come to one headed "Griffiths, Felix". They begin to read it. ASTOR (CONT’D) I can't make out the writing. JANE Neither can I. Damn!. They continue to look through the file, and find an envelope. INSERT SHOT of envelope which is marked: Delivered 20.6.9... Private and Confidential...and addressed to Dr. Ferguson.


JANE (CONT’D) The twentieth, that's today. (turning the envelope over) It looks like it has not yet been opened. ASTOR Well? Jane opens her bag and brings out a nail file. She very carefully begins to open the envelope. Once opened she takes out the contents - a sheet of paper. Jane and Astor both look very surprised at what they read. JANE Wow!. Astor produces a mini-camera, and photographs the sheet of paper. ASTOR OK, let's go. Jane re-seals the envelope, puts it back in the file, and closes the cabinet. Astor then locks it. 78.



Dr. Ferguson arrives at his office. He goes to his desk and opens his diary. After reading through it, he goes to the filing cabinet; he unlocks it, looks through and takes out a file. Back at his desk, he brings out an envelope from the file, and uses a letter opener to open it. He takes out the sheet of paper and begins to read. DR. FERGUSON Oh no. He calls his secretary through the intercom. SECRETARY (O.S.) Yes, Dr. Ferguson. DR. FERGUSON Could you please phone Mr. Griffiths, and tell him that I would like to see him? 79.

INT. DR. FERGUSON'S OFFICE - DAY The door opens and Dr. Ferguson's secretary shows Felix Griffiths in.



DR. FERGUSON (slightly nervous) Felix, come in, come in. FELIX GRIFFITHS Dispense with the niceties Frederick, if it were not serious you would not have dragged me all the way here. Dr. Ferguson hands a sheet of paper to Griffiths. He reads it. He is silent for a few seconds, pensive, looking towards the window. He takes a deep breath. FELIX GRIFFITHS (CONT’D) You are sure about this. DR. FERGUSON I'll ask them to double-check, but... I'm sorry Felix. 80.



Felix Griffiths comes out. From his POV we see Jane, standing across the street, looking at him. CLOSE ANGLE on Jane's face (she knows). CLOSE ANGLE on Felix Griffith's face (he realizes that she knows). 81.

INT. JANE'S APARTMENT - DAY Jane is on her own. The entry phone rings. JANE Hello? --yes, come up. Jane buzzes the entry phone, and opens the front door. NEW ANGLE on door as Felix Griffiths appears. JANE (CONT’D) I was expecting you. FELIX GRIFFITHS I thought you might be. I came to ask you what you are going to do. JANE Nothing. FELIX GRIFFITHS (surprised) What do you mean, nothing. JANE Exactly that, nothing.



FELIX GRIFFITHS Look, you are the first person who has ever had anything on me. I am not used to this, and I don't like playing games. Just tell me what you want. JANE The first?. What about Sophie?. FELIX GRIFFITHS She doesn't count. She's nothing. Just tell me what you want. JANE How does it feel, to know that your career might be over?. FELIX GRIFFITHS (increasingly agitated) Look, by now you must have realised that it was I who organised the setup to discredit you; I could not risk you obtaining any evidence (increasingly agitated) about my involvement with Sophie. If the story had come out it would have ruined me. I know you must be angry, and want revenge, but I am sure that we can come to some arrangement. JANE I know you framed me, and yes I am angry, but I don't want revenge, I don't want anything from you. Do you think that you can buy anything, or anybody?. Jane shows Griffiths the photograph she and Astor had taken at Dr. Ferguson's office, and the negative; she places them on a plate and sets fire to them. FELIX GRIFFITHS (very surprised) I don't understand. JANE No, you wouldn't. You have no morals, no principles. You use people and that God you talk about so much, to your own ends. I don't hate you, I pity you, but not because you have AIDS, that's unfortunate; I pity you because you don't have any humanity, no love, you're empty.


Felix Griffiths just stands looking at Jane, like a child who has just been told off for something, but without realising why. He leaves without saying anything else. 82.



Felix Griffiths is looking out of the window. CLOSE ANGLE on newspaper on his desk, the headline reads: "CALL-GIRL TELLS ALL ABOUT GRIFFITHS". The T.V is heard in the background. NEWSCASTER (O.S.) ...his resignation was accepted by the Prime Minister... 83.



Jane and Astor are walking in the park. ASTOR I still can't believe you actually burnt the only thing that gave you some kind of hold on him. You could have forced him to tell the truth. If Sophie hadn't sold her story to the newspapers you would still be discredited. JANE I couldn't use what I had, even against somebody like Griffiths. It's very sad about Sophie, dying of an overdose. ASTOR Yes, it's so stupid. In other ways she was quite clever though, always keeping a card up her sleeve. JANE Like this one?. Jane produces a mini-cassette recorder and switches it on; we hear part of the conversation she had with Felix Griffiths at her apartment. Astor is jokingly angry with Jane and begins to chase her around the park. 84.



Felix Griffiths is in bed, some time has passed, and he is physically deteriorated.


In flashback we see episodes from his past (playing with his wife and children, speaking in the House, in bed with Sophie, his wife crying). Tears begin to water his eyes. BLACK SCREEN. - "Remember, YOU TOO , can be at risk." CREDIT ROLL. END.

You Too?  

Screenplay by Patricio Fernandez-Urbina registered with Writers Guild of America West # 1426089