INT. JOE'S STAIRS - EVENING
Thirty-something JOE WATERMAN has an anxious look on his face
as walks slowly up the stairs. The CAMERA follows him,
hand-held.
JOE stands outside the bedroom door. It's closed. He's sweating.
Nervous. Scared. He rubs his hands together, then slowly he
reaches forward and opens the door. He pushes it wide open.
What he sees shocks him rigid. There's blood everywhere. He
takes an involuntary step backwards, horrified by what he's
seen. Then he takes a hesitant step forward, into the horror
of it.
The CAMERA follows him hand-held as he walks slowly into the
bedroom.
INT. JOE'S BEDROOM - EVENING
JOE walks into the bedroom. His eyes are wide and staring and
he's breathing heavily as he takes it all in.
Blood on the walls.
A smashed lamp.
A twenty-something naked man, ANGUS THOMPSON, on the floor, his
throat cut.
A smashed mirror.
JOE's wife, SANDRA, lying on the bed, a kitchen knife thrust
into her chest.
JOE walks slowly towards SANDRA. As he gets closer her eyes
open and she gasps.
SANDRA
Joe...
JOE jumps back in horror. Almost screams.
SANDRA tries to sit up but then falls back. Dead. Really dead
this time. JOE stares at her body in horror.
JOE suddenly sees something out of the corner of his eye.
Movement. A figure. He whirls around, almost screaming, his
hands up to defend himself, then he sees it's his own reflection
in the mirrored door of a wardrobe.
JOE stares at his reflection - wide staring eyes, mouth open
and twisted, a look of total fear on his face. The reflection
stares back.
JOE backs out of the room, trembling, followed by the CAMERA,
hand-held.
INT. JOE'S STAIRS - EVENING
JOE rushes down the stairs, the CAMERA follows him, hand-held.
He picks up the telephone, his whole body shaking with terror.
He reaches out to dial with a trembling hand. But then he stops.
He puts the receiver back. He looks towards the kitchen. He's
thinking.
On the soundtrack, loud, sloshing noises.
INT. SEWER - DAY
Total darkness. The sloshing sounds are a fireman walking
through water. The fireman is JOE WATERMAN in full fire-fighting
gear.
SUPERIMPOSED ON SCREEN - 'ONE MONTH EARLIER'
JOE
Here boy.
JOE makes clicking noises, the sort of sounds you'd make to
attract a dog.
JOE (cont'd)
Come on, boy.
More sloshing sounds. A flashlight beam plays along the sewer
wall. It plays along the surface of the water. Unspeakable
things floating in it.
JOE (CONT'D)
(disgusted)
Ugh.
(a beat)
Here boy. Come on, no one's going to hurt
you.
The flashlight beam picks out a wet, frightened dog. JOE scoops
up the dog and walks away.
EXT. STREET - DAY
JOE emerges from a manhole, clutching the bedraggled dog. A
group of ONLOOKERS burst into applause. Our hero. An RSPCA
INSPECTOR steps forward and takes the dog off JOE. JOE bows to
the crowd, accepting the applause with a grin.
JOE's COLLEAGUES are laughing at JOE who is plastered with
unspeakable stuff from the sewer. One of his colleagues is
FRANK.
FRANK
Nice aftershave, Joe.
JOE
Eau de sewer, my favourite fragrance.
Laughing loudest is fireman ANGUS THOMPSON. Late twenties and
good-looking, he's on the fast track to the upper levels of the
fire service. He looks a bit bitter at all the attention JOE
is getting.
ANGUS
Hose the hero down, lads.
FRANK and another fireman, ROGER, hose him down with a small
hose - not a full jet.
JOE does a soft-shoe shuffle in the water, a la Gene Kelly.
JOE
I'm singing in the rain, just singing in
the rain...
EXT. FIRE STATION - DAY
JOE is walking out of the station after his shift, carrying a
holdall. ANGUS follows with FRANK.
ANGUS
Stay downwind, will ya, Joe. You're still
a bit ripe.
JOE
Some of us don't mind getting our hands
dirty.
FRANK
You up for a pint, Joe?
JOE
Nah. Gotta be at the youth club by six.
ANGUS climbs into a flash sports car. JOE puts his gear into
the back of his Volvo. There's a bag of basketballs there. FRANK
is with JOE. They look at ANGUS getting into the sports car.
FRANK
Can't believe he's up for the leading
hand's job. It's an insult, that's what it
is. Should be yours by right. You've been
here for donkey's.
ANGUS drives off with a cheery wave. JOE watches him go.
JOE
We'll see.
INT. SPORTS HALL - EVENING
A red-faced and sweating JOE is racing up and down a basketball
court, refereeing a match between INNER-CITY KIDS. It's getting
a bit rough.
A lanky black kid, JIMMY, elbows a fat white kid, ERIC. ERIC
falls to the floor, then gets up and pushes JIMMY. Punches are
thrown. The game stops and what was a mixed game suddenly splits
along racial lines, the BLACK KIDS facing the WHITE KIDS.
JOE rushes in between them blowing his whistle. He forces JIMMY
and ERIC apart.
JOE
Hey! Hey! HEY!!
The KIDS calm down but there's still a lot of angry looks.
JOE (cont'd)
(to JIMMY)
Jimmy, if you can't play without cheating,
don't bother playing. Okay?
JIMMY nods.
JOE (cont'd)
(to ERIC)
And you don't retaliate, okay? No matter
what the provocation.
A reluctant nod from ERIC.
JOE (CONT'D)
Let's shake and get on with the game.
JIMMY and ERIC shake hands and JOE blows his whistle to restart
the game.
Suddenly all the lights go out. A power cut. The KIDS groan.
INT. SPORTS HALL - EVENING (LATER)
The INNER CITY KIDS are sitting at the edge of the court. A
CARETAKER is examining a fusebox with a torch. JOE goes over
to the KIDS.
JOE
A wire's shorted. Electrician won't be out
until tomorrow. We'll have to call it a
night, lads. Sorry.
Groans from the INNER CITY KIDS.
INT. JOE'S VOLVO - EVENING
JOE drives home with a takeaway Chinese meal on his passenger
seat. As he gets close to his house - a neat, semi-detached with
a basketball hoop over the garage - the street is lined with
parked cars. He looks for somewhere to park.
He parks some way away from the house.
EXT. ROAD OUTSIDE JOE'S HOUSE -EVENING
JOE has to park some way away from his house. He locks the car
door and walks towards his house, jangling his car keys. He stops
as he sees something that makes him frown. ANGUS's sports car,
parked outside his house.
JOE stares at the car. He drops his car keys. He bends down to
pick them up and as he does, he looks towards his house. He sees
ANGUS, standing at the front door. The front door opens and
SANDRA is there in a revealing nightie.
ANGUS And SANDRA embrace as JOE stares in horror, then they go
inside and close the door.
JOE heads towards his house, clearly angry. Then he stops. He
paces up and down, staring at the house. A light in the bedroom
goes off.
Does he go in and confront them, or not? He clenches and
unclenches his fists. Then he gets back into the car. He stares
at the house.
EXT. JOE'S HOUSE - EVENING (LATER)
ANGUS leaves the house.
INT. JOE'S VOLVO - EVENING
JOE watches as ANGUS drives away in his sports car. JOE hits
his own steering wheel in anger and curses.
INT. JOE'S SITTING ROOM - EVENING
SANDRA is watching television. She's about five years younger
than JOE. Pretty and pushy.
JOE walks in. His face is a blank mask. SANDRA looks up as if
butter wouldn't melt in her mouth.
SANDRA
You're home early, darling.
The 'darling' is said without feeling. Not a term of endearment,
just a label.
JOE is distant, hardly aware of what she said. SANDRA sneers
at him.
SANDRA (CONT'D)
Joe? Joe? Earth calling Joe.
JOE has a faraway look in his eyes. He snaps back to reality.
JOE
What?
SANDRA
I said you're home early, darling.
JOE shakes his head, trying to clear his thoughts.
JOE
What? Yeah. I guess.
JOE holds up the carrier bag.
JOE (cont'd)
I got us Chinese.
SANDRA turns back to watch the TV.
SANDRA
I'm not really hungry.
JOE stands staring at SANDRA. He opens his mouth to speak, but
then shuts it. There's nothing he can say.
INT. JOE'S KITCHEN - EVENING
JOE angrily dumps the cartons of Chinese food into the rubbish
bin.
INT. JOE'S UPSTAIRS BOX ROOM - EVENING (LATER)
JOE has turned the small room into a study. It's where he keeps
his computer and stuff. He's surfing the Internet on his
computer.
Behind him, SANDRA heads for bed. She looks at JOE and shakes
her head in disgust. JOE doesn't notice. There's a faraway
look in JOE's eyes, he's barely seeing what's on the screen.
SANDRA
You know darling, you might as well move
your bed in here, all the time you spend
in front of that machine.
JOE doesn't hear her. His face is blank.
INT. JOE'S BEDROOM - LATER
SANDRA is asleep. JOE, now ready for bed, stares down at her.
He looks like he hates her.
JOE gets into bed and lies there, staring up at the ceiling.
ANGUS (VOICE OVER)
Come on! Come on!
EXT. FIRE BRIGADE TRAINING AREA - DAY
JOE and his COLLEAGUES are training. Rushing around, working
as a team. ANGUS is near to JOE.
ANGUS
Come on, come on!
JOE's mind is elsewhere. He doesn't connect a hose right and
water spurts everywhere.
ANGUS (CONT'D)
Bloody hell, Joe! Get a grip!
JOE tries to reconnect the hose. Fumbles again.
ANGUS (CONT'D)
What the hell is wrong with you today?
ANGUS shakes his head in disgust and walks away. JOE glares after
him, bottling up his anger.
INT. JOE'S KITCHEN - EVENING
JOE is sitting at the kitchen table. SANDRA puts a plate of
food down in front of him. Then heads for the sitting room with
her own plate.
JOE
Why don't you eat here?
SANDRA
What?
JOE
Your dinner. Eat it here.
SANDRA
I always eat in front of the TV, darling.
What's wrong?
JOE
Nothing's wrong, I just thought it might
be nice to eat dinner together, that's all.
SANDRA sighs and sits down at the table with JOE. He smiles.
She smiles sarcastically. They eat.
JOE (cont'd)
So how was your day?
SANDRA shrugs.
JOE (cont'd)
What did you do?
SANDRA
Shopping. We're going to have to get the
credit limit raised on the Visa card. It
got rejected in one shop. I was really
embarrassed.
SANDRA stops talking. JOE waits, but that's all he's going to
get.
JOE
Aren't you going to ask what I did?
SANDRA
You're a fireman, darling. I know what you
do. You put out fires.
(a beat)
I'm going to watch TV.
SANDRA picks up her plate and walks out. JOE glares after her.
His resentment is building but still he's holding it in. The
hand that's holding his knife starts to shake.
EXT. JOE'S HOUSE - EVENING
JOE is outside the house, throwing a basketball through the
hoop. Like a robot.
INT. JOE'S BEDROOM - LATER
SANDRA is asleep. JOE is lying on his back, staring up at the
ceiling.
INT. JOE'S HALLWAY - MORNING
JOE picks up the mail. Among the bills is a letter addressed
to SANDRA. The envelope is marked with a solicitor's address.
JOE hears SANDRA coming down the stairs - he hurriedly puts the
envelope in his back pocket.
SANDRA
Anything for me?
JOE
Just bills.
JOE hands the bills to SANDRA, but she just gives him a sour
look and walks away, leaving him holding them.
INT. FIRE STATION TOILET - DAY
JOE stands in a cubicle. He opens the letter. It's from a
solicitor, agreeing to act for SANDRA in her forthcoming
divorce.
SOLICITOR (V.O.)
...more than happy to act for you in your
forthcoming divorce. Please drop by the
office at your convenience and we'll draw
up the necessary papers...
JOE stares at the letter in horror. Divorce? She's being
unfaithful and now she's divorcing him!
He rips up the letter and flushes it down the toilet.
INT. FIRE STATION - DAY
JOE is working on one of the fire engines, making coffee. FRANK
and ROGER are working on one of the other engines.
They laugh loudly. JOE looks over and they look a little guilty.
JOE frowns, wondering if they're laughing at him. He takes a
large fire axe from its holder.
FRANK
And he doesn't know? She's doing the dirty
and he doesn't know?
ROGER shakes his head.
FRANK (cont'd)
You'd think he'd see the signs.
JOE walks up, holding the axe. FRANK and ROGER are still
laughing. The axe isn't threatening, it's just a piece of
equipment that JOE is holding. But it's an axe, all the same.
JOE
Who are we talking about?
FRANK
No one you know, Joe.
JOE looks a little suspicious. Were they talking about him?
ROGER
Old pal of mine. Works over at Bayswater.
JOE
(still suspicious)
Yeah? What's his name?
ROGER
Sandy Patterson. You know him?
JOE shakes his head. But he's a bit happier knowing that they
weren't talking about him after all.
ROGER (CONT'D)
The station officer has been giving
Sandy's wife a good seeing to whenever
Sandy's on nights. Whole station knew what
was going on. Now she's divorcing him. He's
been well screwed all round.
JOE looks like he's going to say something, but then the alarm
bell rings and they all run out.
EXT. JOE'S HOUSE - EVENING
JOE is throwing a basketball through the hoop.
He finishes and goes back into the house, through the kitchen
door.
INT. JOE'S KITCHEN - EVENING
JOE puts the basketball away. He hears SANDRA on the phone in
the hall. She's whispering.
SANDRA stifles a laugh. All JOE can hear are whispers. Then a
giggle. Then more whispers.
JOE strains to listen. He absent-mindedly picks up a large
carving knife
Then SANDRA puts the phone down. There's a pained look on JOE's
face. Then he sees the knife in his hand.
INT. JOE'S SITTING ROOM - EVENING
JOE walks into the sitting room. SANDRA is in her bathrobe, He
doesn't have the knife any more.
JOE
Somebody ring?
SANDRA
When?
JOE
Just then.
SANDRA
Oh. It was a wrong number, darling. They
wanted a mini cab.
SANDRA goes back to watching TV. JOE stares at her. He knows
that she's lying.
INT. JOE'S BEDROOM - EVENING
JOE stares down at the bed. He pulls back the quilt and stares
at the sheet. He's not sure what he expects to see. Evidence
of his wife's infidelity, maybe? Whatever, there's nothing
there. Just the sheet.
In one corner of the room is a laundry basket. JOE lifts the
lid and stares down at the dirty clothes. He starts to rifle
through them. At the bottom of the basket he finds the nightie
that SANDRA was wearing when she let ANGUS into the house. He
picks it up. He holds it to his face, then throws it down,
angrily.
INT. JOE'S UPSTAIRS BOX ROOM - NIGHT
It's two o'clock in the morning and JOE is surfing the Internet
on his computer. There's a mug of coffee by his side.
He's looking through an index of chat rooms. He finds a chat
room for divorcees. He sits and reads the chat. Doesn't type,
just watches. It's pretty depressing reading. Several men
using different handles - RIPPED OFF, BETRAYED, MAD-AT-HER -
are bemoaning their ex-wives.
The chat room conversation flicks by. JOE reads the words, but
he also hears the voices. They fade in and out as his eyes flick
around the screen. Almost a babble.
"RIPPED OFF - She took me for everything I had."
"BETRAYED - Always the way, R.O. Should have got a pre-nup."
"MAD-AT-HER - Pre-nups are a waste of time."
"RIPPED OFF - Should have had her killed, that's what I should
have done."
"BETRAYED - Life behind bars. That'd teach her, wouldn't it,
R.O.?"
"RIPPED OFF - I'd probably see the kids more often than I do
now."
JOE starts to type. He's using the handle "BURNED OUT". As he
types, he reads out loud what he writes.
The voices continue to read out what the other chat room people
are writing.
"BURNED OUT - Anyone know a good solicitor?"
"BETRAYED - Oh, oh. Another lamb to the slaughter!"
"BURNED OUT - I'm serious."
"BETRAYED - So am I!"
"RIPPED OFF - Say goodbye to your house, B.O."
"BETRAYED - And your car!"
"MAD-AT-HER - And the kids!"
JOE types again. And reads as he types.
"BURNED OUT - No kids."
"BETRAYED - Small mercy."
JOE types again. He types quickly.
"BURNED OUT - It's not my fault. She's the one being unfaithful.
With a guy I work with. In my bed."
"MAD-AT-HER - Makes no difference."
"BURNED OUT - It's not fair."
JOE yawns. It's late and he's sleepy. He rubs his eyes. Half
asleep already. He sits back as the chat room conversation
scrolls by on the screen.
He picks up his mug of coffee and sips it but pulls a face as
he realises it's gone cold.
Then there's a beeping sound. JOE has received a personal
message. It sits on the screen. JOE puts down his mug and frowns
as he looks the screen.
It's from someone with the handle PROBLEM SOLVER. The message
reads - "Whoever said life was fair, Joe?"
This time there's no voice.
JOE stares at the message. He was using the handle "BURNED OUT"
so how did PROBLEM SOLVER know his name?
JOE types a reply. "Do I know you?" It's a personal message.
The chat room chat scrolls by as JOE waits for a reply.
The computer beeps when the personal mail arrives from PROBLEM
SOLVER.
JOE reads the message - "Just shooting the breeze, Joe." This
time he hears a voice reading out the message. The voice belongs
to NAPEWORTH, whom JOE has yet to meet.
JOE replies - "How did you get my name?"
Another wait. Another beep. Another personal message.
JOE reads it at the same time as he hears NAPEWORTH say the words
- "Can't abide these stupid nicknames. I'm James. Jim Napeworth.
My friends call me Jim."
JOE types. "What do you want?"
Another message. "Sounds like you've got a problem, Joe. I solve
problems."
JOE types. "What are you? Some sort of councillor?"
Another message. The voice again. "You could say that."
JOE types. "I don't need counselling."
Another reply. "So what are you doing here, it's two o'clock
in the morning."
This time JOE doesn't hear NAPEWORTH's voice reading the
message, it's SANDRA's voice he hears.
SANDRA
It's two o'clock in the morning.
JOE jumps at the sound of her voice. He hadn't heard her walk
in to the room. He turns to look at her.
SANDRA (cont'd)
It's either netball or that bloody
computer. How sad are you?
JOE
It's basketball. Not netball.
SANDRA
It's balls through hoops, darling. We
played it at school and we called it
netball.
SANDRA pulls a "couldn't care less" face and goes back to bed.
JOE watches her go. He closes his eyes in frustration - no way
can he win an argument if she just walks away. Then he turns
back to look at the screen. It's blank. JOE frowns. Had he
imagined the conversation with PROBLEM SOLVER?
INT. JOE'S KITCHEN - MORNING
JOE is cooking himself breakfast. Eggs, bacon, the works.
The phone rings and SANDRA rushes down stairs to answer it. JOE
listens as she picks up the phone.
SANDRA
(into phone)
Hello?
(a beat)
Hello?
She hangs up. She goes into the kitchen and shrugs.
SANDRA (cont'd)
No one there.
(a beat)
I need some money for grocery shopping,
darling.
JOE
I gave you thirty quid yesterday.
SANDRA
Ooohh, last of the big spenders.
JOE
I'm just saying, you had thirty quid.
That's all.
SANDRA
Which I spent.
(off his fry-up)
On your food. Now come on darling, don't
be difficult. It's not my fault money's
tight.
JOE
Money's not tight.
SANDRA smiles.
SANDRA
So stop being such a naughty boy and give
me some. Come on darling, I haven't got
all day. And you've got to get to work. Put
out all those fires.
SANDRA holds out her hand. JOE takes out his wallet and gives
her more money.
INT. FIRE STATION - EVENING
JOE walks out of the fire station with FRANK and ROGER.
FRANK
You up for a pint, Joe?
JOE looks at his watch.
JOE
Yeah, why not.
The STATION OFFICER calls after JOE.
STATION OFFICER
Joe! You expecting a call?
JOE
Not really. Why?
STATION OFFICER
Some bloke called. I said you were just
going off shift and he hung up.
JOE
If it's important, I guess he'll ring back.
ANGUS hurries after JOE, FRANK and ROGER.
ANGUS
Whose round is it, lads?
JOE's face falls, he didn't want ANGUS there.
INT. PUB - EVENING
ANGUS is at the bar, flirting with a PRETTY BARMAID.
JOE, FRANK and ROGER are half-heartedly playing darts.
FRANK
(off ANGUS)
She'll be flat on her back with her legs
akimbo before she knows what's hit her.
ROGER
Isn't that a Japanese martial art?
FRANK
What?
ROGER
Akimbo.
JOE pulls a face.
FRANK
What's he got that we haven't?
JOE
Can we just get on with the game?
FRANK
Don't you want to know the secret of his
success?
JOE looks over at ANGUS who's giving the PRETTY BARMAID a kiss
on the cheek. The look on JOE's face makes it clear that he
doesn't.
EXT. PUB - LATER
ANGUS, FRANK and ROGER leave the pub, laughing, slightly drunk.
INT. PUB - NIGHT
The CAMERA moves hand-held through the pub's customers until
it finds JOE, sitting at a table, brooding on his own, slightly
tipsy.
JOE looks up. There's a man standing in front of him holding
a pint of lager and a glass of water. The man is in his early
thirties with ice cold eyes and short hair. He's JAMES
NAPEWORTH.
NAPEWORTH
How's it going, Joe?
JOE frowns, he doesn't want to be disturbed.
JOE
Do I know you?
NAPEWORTH puts the lager down in front of JOE, then holds out
his hand to shake. JOE looks down, he doesn't want to get
involved.
NAPEWORTH
James Napeworth. Friends call me Jim.
NAPEWORTH stands there with his hand out. JOE looks up, frowns
again. He stares at NAPEWORTH but NAPEWORTH stares back, a quiet
smile on his face.
NAPEWORTH (cont'd)
Handshake won't cost you anything, Joe.
JOE looks away, then back. NAPEWORTH isn't going to go away.
Slowly, reluctantly, JOE shakes hand with NAPEWORTH but it still
hasn't clicked who he is. NAPEWORTH sits down.
NAPEWORTH (cont'd)
Problem Solver. Remember?
NAPEWORTH makes a typing gesture with his fingers and JOE frowns
in confusion.
JOE
How did you...
NAPEWORTH
(interrupting)
Tricks of the trade, Joe.
JOE looks confused.
JOE
Who are you?
NAPEWORTH
I told you.
JOE
But what do you want?
NAPEWORTH
What do you want, Joe?
JOE
I told you, I don't need counselling.
NAPEWORTH
So what do you need?
JOE
I just need a bit of peace and quiet, that's
all.
JOE gives NAPEWORTH a hard look, wanting him to leave him alone.
NAPEWORTH just smiles and JOE realises that he isn't going to
go away. JOE stands up.
JOE (CONT'D)
This is crazy.
JOE pushes past NAPEWORTH and heads out of the pub. NAPEWORTH
watches him go with a smile.
EXT. CANAL TOWPATH - NIGHT
JOE is hurrying down the towpath, slightly tipsy, looking over
his shoulder. No sign of NAPEWORTH. No sign of anyone. The
towpath is deserted. JOE relaxes a little.
He stops to take a leak. Stands looking out over the canal.
Unzips his trousers. Pisses into the canal.
NAPEWORTH
So tell me about your problem, Joe.
JOE jumps out of his skin. Pisses down his leg.
JOE
Jesus!
NAPEWORTH is standing next to JOE, looking out over the canal.
JOE looks confused. Where the hell did he come from? JOE manages
to recover his composure. He zips up his trousers.
JOE (CONT'D)
Chat rooms are supposed to be anonymous.
NAPEWORTH
You seemed like you needed help.
JOE
It's personal.
NAPEWORTH
You don't want to bottle things up, Joe.
It's not good for your health. If that
guy's humping your wife in your bed, maybe
you should do something about it.
JOE looks hurt. He walks off. NAPEWORTH walks with him.
Whispering into his ear, almost.
NAPEWORTH (CONT'D)
I'm sorry, Joe. I didn't mean to rub your
face in it. But you sounded like you need
help. And that's what I do. I help people
like you.
JOE
Which means what?
NAPEWORTH
It means whatever you want it to mean, Joe.
JOE
Leave me alone.
NAPEWORTH stops. JOE walks on. JOE looks over his shoulder -
NAPEWORTH isn't following JOE, he's just standing there,
watching. JOE stops and turns to face NAPEWORTH. He hesitates,
then slowly walks back to him.
JOE (CONT'D)
How would you help me?
NAPEWORTH
You wouldn't be the first to be taken to
the cleaners by an unfaithful wife. Can I
ask you something?
JOE
What?
NAPEWORTH
You haven't got kids, have you?
JOE looks away. It's a sore point.
NAPEWORTH (cont'd)
She doesn't work, does she? Hasn't had a
job since she married you.
JOE
I'm the breadwinner.
NAPEWORTH
A woman's place is in the home?
JOE
Firemen don't work regular hours. We'd
never see each other if she worked.
NAPEWORTH
But that doesn't answer my question, does
it.
JOE walks away. NAPEWORTH walks with him.
NAPEWORTH (cont'd)
My experience...women with kids tend not
to stray.
JOE
Sandra isn't...ready.
NAPEWORTH
Ready to be a mother?
JOE
She's young. There's time.
NAPEWORTH
But you're not, are you? No offence. I
mean, there's none of us getting any
younger, are we?
JOE
We've talked about it. Before we married.
Children weren't her priority. Her family
had nothing. She wore hand-me-downs all
her life, pretty much. Escaped as soon as
she could.
NAPEWORTH
Are you sure you can't save the marriage?
Win her over? Flowers, champagne. Woo her?
JOE
I don't think she even likes me any more.
I can see the contempt in her eyes.
NAPEWORTH
What about talking to the guy she's
sleeping with? Man to man?
JOE
He'd laugh in my face.
NAPEWORTH starts to walk down the towpath. JOE hurries after
him. Now it's JOE doing the chasing.
JOE (CONT'D)
So what do you suggest?
NAPEWORTH
I think you know. Legally, she'll take
half of everything you've got. Everything
you've worked for. Maybe more if she gets
a good lawyer.
JOE
I know.
NAPEWORTH
So you know what you have to do.
JOE
We're talking about...
He can't bring himself to say the words.
NAPEWORTH
I know what we're talking about.
JOE
And it's that easy?
NAPEWORTH
I never said it would be easy, Joe.
There's a path leading away from the towpath. NAPEWORTH stops.
NAPEWORTH (cont'd)
I don't think you're ready, Joe.
JOE
Ready for what?
NAPEWORTH
The next step. When you are, e-mail me.
NAPEWORTH turns and walks away. JOE is surprised by the speed
with which NAPEWORTH leaves. He frowns, hesitates, then hurries
after NAPEWORTH. But there's no sign of NAPEWORTH. He's gone.
Swallowed up by the darkness. JOE is still slightly tipsy and
he looks around, confused. He rubs his face. Did he imagine
NAPEWORTH?
EXT. JOE'S HOUSE - EVENING
JOE is throwing his basketball at a hoop. Again and again.
INT. FIRE STATION - DAY
JOE's shift is finishing. JOE and his colleagues are heading
out. The STATION OFFICER calls out to JOE.
STATION OFFICER
Joe! Can I have a word.
ANGUS is with the STATION OFFICER. As JOE walks towards the
STATION OFFICER's office, ANGUS walks away, grinning. He grins
at JOE and JOE's face falls as he realises it's about the
promotion to leading hand. The STATION OFFICER ushers JOE into
his office.
INT. STATION OFFICER'S OFFICE - DAY
The STATION OFFICER moves behind his desk as JOE stands. The
CAMERA is outside the office, looking in through a glass panel.
The STATION OFFICER is speaking, but we don't hear what's being
said. But it's clear from the look on JOE's face that it's bad
news. He's not getting the promotion.
JOE storms out. The STATION OFFICER watches him go.
INT. JOE'S KITCHEN - EVENING
JOE walks in. SANDRA is taking two Marks and Spencer ready meals
out of the oven.
SANDRA
Dinner's ready.
SANDRA puts JOE's dinner down on the kitchen table. It's set
for one. She puts her dinner on a tray to take in front of the
TV.
JOE
I didn't get the promotion.
SANDRA
That's a pity, darling.
JOE
They gave it to Angus Thompson.
SANDRA
Really?
Still not interested, SANDRA carries the tray through to the
sitting room. JOE follows her.
INT. JOE'S SITTING ROOM - EVENING
SANDRA sits and starts to eat. JOE stands looking down at her.
JOE
You know Angus, yeah? Bloke you were
dancing with at the last social.
SANDRA shrugs.
SANDRA
I danced with lots of your friends,
darling. That's why they call it a social.
JOE
You'd remember Angus, though. Bit flash.
SANDRA looks at him coldly.
SANDRA
(off the TV)
I'm watching this, darling.
SANDRA looks back at the TV. JOE stands looking at her. He glares
at her, like he wants her dead, but she doesn't notice.
JOE
It should have been mine, by rights.
SANDRA
What?
JOE
The promotion.
SANDRA
You don't want promotion. You need
ambition to want promotion. You're happy
being a bog-standard fireman.
(off the TV)
I want to watch this, darling. Okay?
She turns back to watch the TV leaving JOE glaring at her.
EXT. DARK, LONELY LANE - EVENING
It's raining. JOE is standing by the side of the lane. It's dark
and spooky. A car pulls up. NAPEWORTH is driving. JOE gets
into the car.
INT. NAPEWORTH'S CAR - EVENING
NAPEWORTH drives off. JOE sits, dripping wet. Rain flecks the
windscreen.
JOE
I wasn't sure if you'd come.
NAPEWORTH
I'm like a genie. Rub my bottle and I grant
you a wish.
(a beat)
So what do you wish for, Joe?
JOE
She's going to divorce me. I'll lose
everything.
NAPEWORTH
Courts always favour the women. It's the
way of the world.
JOE
So what do I do?
NAPEWORTH
You get someone to take care of it for you.
A professional.
JOE
Can you...you know?
NAPEWORTH
Take care of it for you?
JOE nods.
NAPEWORTH (CONT'D)
If you're sure that's what you want.
JOE
You've done this before, have you?
INT. NAPEWORTH'S FLAT - NIGHT
NAPEWORTH opens the door. JOE follows him into the flat.
NAPEWORTH
Home sweet home.
The flat is in complete darkness. Spooky. NAPEWORTH switches
on a small lamp. Just enough light to see by. Old furniture.
Faded carpets. Nothing of a personal nature. The only new thing
is a computer connected to a modem. JOE looks apprehensive.
JOE
What's this about?
NAPEWORTH
You wanted proof.
NAPEWORTH opens a door that leads to another room. He gestures
for JOE to go in.
NAPEWORTH (cont'd)
Proof you've got.
The camera follows JOE into the large room.
INT. NAPEWORTH'S ROOM - NIGHT
It's dark. JOE stands in the middle of the room. NAPEWORTH
switches on another small lamp. This room is much spookier than
the first. There's no furniture. The walls are covered with
photographs and newspaper cuttings. The photographs are of
murder victims. The newspaper cuttings are of murders and
deaths, some accidental.
JOE walks around, open-mouthed, as he looks at the photographs
in the half-light. Gunshot wounds. A plastic bag over a head.
A cut throat. A wrecked car. NAPEWORTH watches proudly as JOE
studies the newspaper cuttings.
JOE
How do I know I can trust you?
NAPEWORTH just smiles. Doesn't answer.
JOE (cont'd)
How much do you charge?
NAPEWORTH shrugs.
NAPEWORTH
It depends.
JOE
On what?
NAPEWORTH
On what it's worth. What would it be worth
to you, Joe? Having your wife out of the
way.
JOE struggles to find an answer. He shakes his head in confusion.
NAPEWORTH (CONT'D)
Your heart doesn't seem to be in this.
JOE
It's not that. It's just... it's a hell
of a thing, you know. A big step.
NAPEWORTH
And you're having second thoughts?
JOE
I'm not sure.
NAPEWORTH
So what's holding you back?
JOE takes in the enormity of what he's going to do.
NAPEWORTH (cont'd)
(almost whispering)
You've just got to ask, Joe.
JOE
You've no reservations? No conscience?
NAPEWORTH
Are you trying to talk me out of it, Joe?
Or yourself?
NAPEWORTH heads for the door.
NAPEWORTH (cont'd)
It looks to me like you have to give this
more thought, Joe. Consider the
ramifications.
JOE follows NAPEWORTH out of the room.
EXT. DARK, LONELY LANE - EVENING
It's raining. JOE is back standing by the side of the lane,
wiping the rain from his face. It's dark and spooky and JOE is
totally alone. He looks around. Has NAPEWORTH just dropped him
off, or was NAPEWORTH never there?
INT. BURNING FACTORY - DAY
ANGUS and JOE are fighting a fire. ANGUS is on the hose, JOE
behind him. ANGUS sprays water.
STATION OFFICER (ON THE RADIO)
Angus, you two okay in there?
ANGUS (INTO RADIO)
We've got it under control.
There's a sprinkling of burning debris from above. They look
up and BANG! - a burning beam falls down and traps ANGUS, face
down.
JOE takes a step back. More burning debris falls down. JOE moves
further back.
The fire is getting more fierce. JOE stands looking at ANGUS.
He takes a step towards him, and then stops. It's the perfect
chance to let the fire kill ANGUS. But can he do it?
STATION OFFICER (ON THE RADIO)
What's happening in there?
JOE stares at ANGUS on the floor.
STATION OFFICER (ON THE RADIO) (cont'd)
Angus! Joe! Talk to me!
JOE (INTO RADIO)
It's okay. It's okay.
More burning debris falls on ANGUS. JOE makes a decision. He's
going to let ANGUS die.
STATION OFFICER (ON THE RADIO)
I'm sending in back-up.
JOE (INTO RADIO)
No! We've got it under control.
He turns to leave, but as he moves towards the exit, following
the hose, he sees two more FIREMEN arrive with another hose.
It's FRANK and ROGER.
JOE rushes over to ANGUS.
JOE (CONT'D)
Angus!
JOE pulls him from under the beam, just as FRANK and ROGER get
close.
JOE (CONT'D)
It's okay. I've got him.
JOE carries ANGUS outside as FRANK and ROGER fight the fire.
EXT. BURNING FACTORY - DAY
JOE carries ANGUS outside. Two FIREMEN attend to ANGUS. He's
groggy but not badly hurt.
JOE is exhausted but okay. The STATION OFFICER comes over.
STATION OFFICER
You okay, Joe?
JOE
Yeah, Guv.
STATION OFFICER
Good work in there.
JOE
Thanks, Guv.
JOE looks over at ANGUS, who's being helped to his feet. Good
work? Hardly.
Then JOE sees a face in a crowd of ONLOOKERS that he recognises.
It's NAPEWORTH. JOE looks back at ANGUS, recovering. Then back
to the ONLOOKERS. This time, there's no sign of NAPEWORTH. JOE
wonders if he was ever there, or did he imagine seeing him?
INT. FIRE STATION LOCKER ROOM - DAY
JOE is putting his gear away and getting changed. FRANK and
ROGER leave.
FRANK
See ya, Joe!
ANGUS walks in as FRANK and ROGER leave. ANGUS pats JOE on the
back.
ANGUS
Thanks for today, mate.
JOE
You'd've done the same.
ANGUS starts changing his gear.
ANGUS
Yeah, well I owe you one.
JOE doesn't look at ANGUS, he keeps on stowing his gear.
JOE
(quietly)
Maybe now you'll leave my wife alone.
ANGUS
What?
JOE
(still quiet)
You said you owe me one. Maybe you'll keep
away from Sandra. Quid pro quo, yeah?
ANGUS
What the hell are you talking about?
JOE turns to face ANGUS. Angrier now.
JOE
You know what I'm talking about. You
messing around with my wife, that's what
I'm talking about.
ANGUS
Joe...
JOE
Don't play the innocent. I know what's
going on.
ANGUS
Joe...on my life...
JOE snaps - he pushes ANGUS away. ANGUS pushes back.
ANGUS (CONT'D)
Watch who you're pushing.
JOE
Pulling rank now?
ANGUS
It's nothing to do with rank.
JOE pushes against ANGUS, grabbing his shirt and throwing him
against a locker.
JOE
Leave my wife alone!
ANGUS
Takes two to tango.
JOE loses it. He tries to hit ANGUS but it turns into a scrap.
No flash kung fu moves, no quick jabs, this is a messy scrap
between two men who should know better. They wrestle each other,
slamming each other against the lockers. JOE gets a grip on
ANGUS's throat and squeezes.
There's a look of panic on ANGUS's face as he realises that JOE
is squeezing the life out of him. JOE realises how close he
is to killing ANGUS with his bare hands and he eases the
pressure, giving ANGUS a chance to breathe.
ANGUS relaxes, pretending to give up, but as JOE takes his hands
away ANGUS lashes out, punching JOE in the face. It's a cheap
shot and it catches JOE unawares. JOE bellows as blood pours
from his nose.
He pushes ANGUS hard and ANGUS falls down. JOE picks up a fire
extinguisher and raises it above his head, preparing to bring
it smashing down on ANGUS's head.
ANGUS Looks horrified, scared witless as he realises that JOE
is capable of killing him.
ANGUS (cont'd)
No!
JOE is mad enough to kill, but he just manages to control his
impulses. He hesitates, then slowly lowers the fire
extinguisher.
JOE
You bastard.
JOE stands up and heads towards the door. ANGUS's bravado
returns as he realises that JOE isn't going to hurt him.
ANGUS
Couldn't do it, could you?
JOE puts his hand on the door handle.
ANGUS (cont'd)
It's no wonder she walks all over you.
JOE turns and glares at ANGUS. ANGUS looks scared again,
wondering if he's said too much, but JOE just gives him an
ice-cold smile. JOE's made his mind up.
EXT. DESERTED DOCKSIDE - NIGHT
JOE is standing in the rain, all on his own. He looks at his
watch, then looks for somewhere to shelter. He gets out of the
rain and looks at his watch again.
NAPEWORTH is there. JOE jumps, how did NAPEWORTH get so close
without JOE seeing him?
NAPEWORTH
Hiya Joe.
EXT. DESERTED DOCKSIDE - NIGHT (LATER)
NAPEWORTH and JOE walk along the dockside. It's dark and gloomy.
JOE
Every Wednesday evening he's around at my
house. With her. While I'm coaching.
NAPEWORTH
Coaching?
JOE
Basketball. At a youth club. I thought you
could do it then.
NAPEWORTH
(smiling)
In flagrante delicto.
JOE
It'd give me an alibi.
NAPEWORTH
Good thinking.
JOE
How will you do it?
NAPEWORTH mimes shooting a gun.
NAPEWORTH
Unless you've something else in mind.
JOE
What about the noise? We've got
neighbours.
NAPEWORTH
A silencer. Don't worry, Joe, I'm not
exactly a virgin at this. I'll make it look
like a robbery that went wrong. Steal a few
things. She's got jewellery, your wife?
JOE nods.
JOE
In the bedroom.
NAPEWORTH
What about money? Is there cash in the
house?
JOE
She keeps some money in the kitchen. In a
coffee jar.
NAPEWORTH
I'll take that, too. Smash the place up a
little.
JOE
Not too much.
NAPEWORTH
Just enough to make it look real.
(a beat)
You've got insurance?
JOE
Yes.
NAPEWORTH
And your wife is on the policy? It pays out
if she dies?
JOE nods.
NAPEWORTH (cont'd)
Okay. Don't do anything stupid like
ringing up to check or raising the
premiums. And afterwards, don't call the
insurance company to ask them when they'll
pay out. Wait until they call you. Act like
you'd forgotten all about the insurance.
JOE
When do I pay you?
NAPEWORTH
Cash in advance.
JOE looks worried.
NAPEWORTH (cont'd)
That's the way it works, Joe. I can hardly
send you an invoice afterwards.
(a beat)
Have you got it?
JOE nods.
JOE
I've got some money in a building society.
She doesn't know about it.
(a beat)
What if...?
NAPEWORTH
What if what?
JOE
(hesitantly)
What if something goes wrong?
NAPEWORTH
It won't.
(a beat)
Joe - you have to want this. If you're
having trouble with your conscience now,
it's gonna get a whole lot worse
afterwards.
JOE nods. Then smiles grimly. Yeah, he wants it.
EXT. BUILDING SOCIETY - DAY
JOE walks out of the building society, putting an envelope into
his pocket.
INT. JOE'S UPSTAIRS BOX ROOM - EVENING
JOE counts the money.
SANDRA
I'm going out, darling.
JOE jumps. He hadn't heard her come to the door. He hides the
money with a basketball magazine.
JOE turns to look at her. She's dressed to the nines and all
made up. Beautiful. JOE remembers why he fell in love with her
in the first place.
JOE stands up and tries to kiss her, but she pushes him away.
SANDRA (cont'd)
My make up, darling. Mind my make-up.
JOE
Where are you going?
SANDRA
Out with the girls. Don't wait up.
SANDRA walks away. JOE watches her go, his eyes ice cold.
INT. DESERTED AMUSEMENT ARCADE/FAIRGROUND - NIGHT
JOE walks through the deserted fairground. It's a spooky place
at night.
NAPEWORTH is sitting on a merry-go-round. At first JOE doesn't
see him because NAPEWORTH is sitting so still.
NAPEWORTH
You're late.
JOE jumps. Startled. He hesitates, wondering if he should hand
the money over.
NAPEWORTH waits. Says nothing. Just sits on the merry-go-round
and waits. JOE decides he's going to go through with it and hands
the envelope to NAPEWORTH. NAPEWORTH opens it and flicks through
a wad of notes. A thick wad.
NAPEWORTH smiles and puts the money in his pocket and holds out
his hand.
NAPEWORTH (CONT'D)
Keys.
JOE frowns but hands over his door keys. NAPEWORTH opens a small
metal box and taxes wax impressions of JOE's door key.
JOE
I thought you were going to make it look
like a break-in?
NAPEWORTH
I can hardly smash a window while they're
upstairs, can I?
NAPEWORTH hands back the keys. He puts the wax impression in
his pocket, then climbs off the merry-go-round.
NAPEWORTH and JOE walk together through the fairground.
NAPEWORTH (cont'd)
I'll let myself in with the key, then
afterwards I'll make it look like someone
broke in.
JOE nods.
NAPEWORTH (cont'd)
It's going to be fine, Joe. Don't worry.
Wednesday night, just carry on exactly as
normal. Okay?
JOE
Okay.
NAPEWORTH
Leave at the same time as usual. Follow
your exact same routine. Let yourself into
the house. What do you normally do when you
get home?
JOE
Shower.
NAPEWORTH
But you say hello to your wife first,
right?
JOE
Right.
NAPEWORTH
So you do that. You look in the sitting
room. She's not there. You go upstairs. You
see what you see. Call the police. Don't
get over-elaborate on the phone, just say
your wife has been killed. They'll ask you
who you are, where you're calling from, all
sorts of stuff. That's just to keep you on
the line. They'll know where you're
calling from and they'll send a car right
away. Don't phone anyone else. Don't touch
anything. Just stay by the phone and wait
for the police.
JOE
What do I say about Angus?
NAPEWORTH
You don't say anything. Let them ask the
questions.
JOE looks worried.
NAPEWORTH (cont'd)
What's wrong?
JOE
They're going to suspect me, aren't they?
NAPEWORTH
Of course they are. But at the time they're
being killed, you'll be refereeing a
basketball match. All the kids at the
youth club'll be vouching for you. Plus the
gun'll be missing, plus it'll look like a
robbery. They're not going to be pointing
the finger at you unless you go and do
something incredibly stupid.
NAPEWORTH looks at JOE, waiting for him to go. JOE hesitates.
JOE
That's it?
NAPEWORTH
That's it. You'll never see me again.
JOE turns to go, then hesitates. He doesn't want to go. He knows
that if he goes, it's going to happen and he wants to put off
the moment as long as possible.
JOE
Who will you shoot first?
NAPEWORTH
What?
JOE
When you shoot them, who will you shoot
first?
NAPEWORTH
I guess it depends on who's on top.
JOE
What?
NAPEWORTH
Whoever gives me the cleaner shot.
Probably whoever's on top. Why?
JOE
I don't know.
JOE shakes his head, like he's confused. He walks away. Behind
him, NAPEWORTH smiles. A cold, hard smile.
EXT. FIRE STATION - DAY
It's the end of the shift. FRANK and JOE are walking out of the
appliance bay together.
FRANK
You got basketball practice today?
JOE
It's a match. We're playing a team from
Campden.
ANGUS heads towards his sports car.
ANGUS
Good luck tonight, Joe.
JOE
(sarcastic)
Yeah, you too.
FRANK
What time's it start?
JOE
Seven.
FRANK
I'll come with you, yeah? See what you've
been investing all your time in.
JOE
You'd be bored rigid.
FRANK
Nothing better to do.
ROGER walks out of the station. FRANK calls over to him.
FRANK (cont'd)
Hey Roger! Fancy watching Joe's boys in
action?
ROGER
Yeah. Why not.
ANGUS drives off, beeping his horn. JOE glares after him. Then
realises that FRANK has seen the look on his face. JOE shrugs.
JOE
Flash bastard.
(to FRANK and ROGER)
Okay, come on then. But any cracks about
how my legs look in shorts and I'm sending
you both home.
INT. SPORTS HALL - EVENING
Two teams are playing basketball. JOE is refereeing, in shorts,
running frantically up and down. JIMMY and ERIC are on the same
team, along with others that JOE trained. JOE's team are losing.
Badly. There's only a handful of SPECTATORS, most of the kids
aren't from supportive families. Most don't have families at
all.
FRANK and ROGER are watching. FRANK gives JOE a big thumbs-up.
During a lull in play, JOE looks up at a clock on the wall. And
imagines what NAPEWORTH is doing.
EXT. JOE'S HOUSE - EVENING
A figure we assume is NAPEWORTH walks up to the front door and
opens it with a key.
INT. SPORTS HALL - EVENING
The teams are playing. Fast and hard. JOE is in the thick of
it.
INT. JOE'S HALLWAY - EVENING
The figure we assume to be NAPEWORTH walks through the hallway
and up the stairs. Lots of dark shadows. He pauses, listening.
INT. SPORTS HALL - EVENING
ERIC makes a shot and misses. The opposition grab the ball and
mount an attack.
INT. JOE'S STAIRS - EVENING
NAPEWORTH stands outside the bedroom door. Inside, he can hear
noises. ANGUS and SANDRA, making love. Lots of dark shadows as
he pushes the door open. Through the open door, he sees ANGUS
making love to SANDRA.
Close-up on the gun in NAPEWORTH's hand.
INT. SPORTS HALL - EVENING
Another shot. Another miss. ERIC swears in frustration and
JIMMY pats him on the back.
INT. JOE'S BEDROOM - EVENING
Short, sharp, shots of ANGUS and SANDRA being murdered. Dark
shadows, just glimpses of what happens. ANGUS is killed. Blood
spurts. SANDRA opens her mouth to scream. She's killed. More
blood. It's what JOE imagines is happening.
INT. SPORTS HALL - EVENING
JOE blows his whistle, hard, sounding the end of the first
quarter.
The two teams rush to a side table for refreshments. JOE looks
up at the clock on the wall. It's time. He imagines what
NAPEWORTH is doing in the house.
INT. JOE'S BEDROOM - EVENING
NAPEWORTH has turned out the contents of all the drawers in the
bedroom. He takes jewellery from SANDRA's jewellery box. Then
he pulls ANGUS's wallet from ANGUS's jacket and steals it.
INT. JOE'S KITCHEN - EVENING
NAPEWORTH opens a coffee jar and takes out the money that SANDRA
has hidden there. Then he pulls open all the drawers and
cupboards, tipping stuff out onto the floor.
INT. JOE'S BEDROOM - EVENING
SANDRA and ANGUS lie dead on the bed. Around them, all the signs
of a robbery.
ERIC (VOICE OVER)
They're killing us.
INT. SPORTS HALL - EVENING
JOE snaps back to reality. ERIC is standing in front of him.
JOE
What?
ERIC
They're killing us, Coach. What are we
going to do?
JOE
I'm refereeing here, Eric. I've got to be
impartial.
JIMMY comes over.
JIMMY
They're walking all over us.
JOE
They're better on the day, that's all.
JOE ruffles ERIC's hair. JOE blows his whistle and the two teams
run back onto the court.
EXT. JOE'S HOUSE - EVENING
JOE pulls up outside his house. ANGUS's sports car is parked
there.
INT. JOE'S VOLVO - EVENING
JOE takes a deep breath. Then another.
JOE
(to himself)
It's okay. It's okay.
EXT. JOE'S HOUSE - EVENING
JOE gets out of the car. The CAMERA follows him, hand-held,
as he walks towards the house.
From now on, this should be one long continuous hand-held shot,
from the moment that JOE gets out of the car to the moment that
the police arrive in the bedroom. The CAMERA should be with JOE
every second, in real time. For the next six minutes, we live
it as JOE lives it.
JOE looks up. The bedroom curtains are shut but the lights are
on. JOE swallows nervously as he anticipates what he's going
to find.
He looks at the downstairs windows. No sign of a break-in. He
looks at the door. Nothing broken there. He frowns as he gets
the first inkling that something isn't right.
He takes his doorkeys out of his pocket and opens the front door.
His hands are shaking. He fights to keep his hands steady. He
unlocks the door. He pushes the door open ever so slowly.
The CAMERA follows him inside, hand-held.
INT. JOE'S HALLWAY - EVENING
The CAMERA, hand-held, goes with JOE through the hall. He wipes
his face nervously. He's looking around, almost as if he's a
stranger in the house.
INT. JOE'S SITTING ROOM - EVENING
JOE looks into the sitting room. Empty. JOE takes deep breaths,
trying to force himself to relax. Doesn't work. He wipes his
face again.
INT. JOE'S STAIRS - EVENING
JOE walks slowly up the stairs. The CAMERA follows him,
hand-held. This is where we came in at the beginning.
JOE stands outside the bedroom door. It's closed. He wipes his
hands and slowly reaches forward and opens the door. He pushes
it wide open.
What he sees shocks him rigid. There's blood everywhere. He
takes an involuntary step backwards, horrified by what he's
seen. Then he takes a hesitant step forward, into the horror
of it.
The CAMERA follows him hand-held as he walks slowly into the
bedroom.
INT. JOE'S BEDROOM - EVENING
JOE walks into the bedroom. His eyes are wide and staring and
he's breathing heavily as he takes it all in.
Blood on the walls.
A smashed lamp.
ANGUS on the floor, his throat cut.
A smashed mirror.
SANDRA, lying on the bed, a kitchen knife thrust into her chest.
JOE walks slowly towards SANDRA. As he gets closer her eyes
open and she gasps.
SANDRA
Joe...
JOE jumps back in horror. Almost screams.
SANDRA tries to sit up but then falls back. Dead. Really dead
this time.
JOE suddenly sees something out of the corner of his eye.
Movement. A figure. He whirls around, almost screaming, his
hands up to defend himself. For a fraction of a second it looks
like NAPEWORTH, then he sees it's his own reflection in the
mirrored door of a wardrobe.
JOE stares at his reflection - wide staring eyes, mouth open
and twisted, a look of total fear on his face. The reflection
stares back.
JOE backs out of the room, trembling, followed by the CAMERA,
hand-held.
INT. JOE'S STAIRS - EVENING
JOE rushes down the stairs, the CAMERA follows him, hand-held.
He picks up the telephone, his hands shaking. He's about to dial.
But then he stops. He puts the receiver back.
The CAMERA follows him, hand-held, into the kitchen.
INT. JOE'S KITCHEN - EVENING
JOE checks the kitchen windows and door. No sign of a break-in.
He's confused. Frantic. This isn't how it was supposed to be.
NAPEWORTH (VOICE OVER)
I'll make it look like a robbery that went
wrong. Steal a few things.
He rushes to open the kitchen cupboards. He finds the coffee
jar where SANDRA keeps her money. He rips it open. The money's
still there. JOE takes out the money and stares at it as he
realises what it all means. No break-in. No robbery. No suspect
for the police.
He puts the money in his pocket, puts the cap back on the jar,
then puts the empty jar back in the cupboard.
Then he remembers fingerprints. He gets a tea towel, takes out
the coffee jar, wipes it clean, puts it back, then wipes the
handle of the cupboard.
He's breathing heavily. He looks at his watch. He knows he's
got to call the police soon, but there's so much to do.
He looks at the knife block. There's a knife missing. It's the
knife embedded in his wife's chest. JOE stares at the space
where the knife should be. He feels dizzy as the significance
hits him. No sign of a break-in. One of his knives used to
kill SANDRA and ANGUS. The police are going to put two and two
together and assume that JOE's the killer.
JOE
Shit.
JOE takes deep breaths to calm himself down.
JOE (CONT'D)
(to himself)
It's okay. It's okay. You can still make
it work. Just think. Think.
JOE takes more deep breaths. He looks at his watch again.
JOE (CONT'D)
(to himself)
Okay. It'll take them time to get here.
Five minutes maybe.
The CAMERA follows JOE, hand-held, to the phone. He dials 999.
JOE (cont'd)
Police.
There's a delay as he's put through. JOE looks around, thinking
frantically. He takes deeps breaths. The police come on the
line.
JOE goes into overdrive.
JOE (cont'd)
It's my wife! She's been killed! You've got
to help me! She's dead! She's dead!
(a beat)
Waterman. Joe Waterman. 256 Woodhouse
Road.
(a beat)
Sandra. My wife. And there's someone else
here. From work. They're both dead.
(a beat)
What does it matter what his name is? Just
get someone here. The police. An
ambulance. Oh my God, she's dead.
JOE hangs up. He's shaking and he fights to stay calm. He closes
his eyes and takes deep breaths. He opens his eyes and looks
at his watch.
JOE walks quickly into the kitchen. The CAMERA follows him,
hand-held. He's still carrying the tea towel.
INT. JOE'S KITCHEN - EVENING
JOE looks at the kitchen door.
NAPEWORTH (VOICE OVER)
I'll let myself in with the key, then
afterwards I'll make it look like someone
broke in.
JOE unlocks the kitchen door, then with the towel wrapped around
his hand, he smashes a glass panel (in either the door or the
window). Then he goes back into the kitchen and closes the
kitchen door.
He hangs up the towel, then puts on an oven glove. He used his
gloved hand to open several of the cupboards and drawers and
empty the contents onto the floor.
The telephone starts to ring. JOE starts, shocked by the noise,
and looks at his watch again. He knows that it's the police
calling back.
JOE rushes up the stairs, followed by the CAMERA, hand-held.
INT. JOE'S BEDROOM - EVENING
JOE rushes into the bedroom, followed by the CAMERA hand-held.
It's all rush, rush, rush, as JOE races against the police. He's
shaking again, close to losing control.
There's a jewellery box on the dressing table. JOE picks it
up, fumbles it and drops it. He kneels down and opens it. All
SANDRA's jewellery is there. JOE tips it out.
The phone stops ringing.
JOE looks across at ANGUS's body and sees an expensive watch
on his wrist. He rushes over to ANGUS and takes off the oven
glove before pulling the watch off ANGUS's wrist.
JOE
Wallet, wallet, wallet.
Then JOE goes through ANGUS's clothes and finds his wallet. He
puts the wallet on the dressing table with the jewellery.
JOE (cont'd)
Okay. Okay.
He takes deep breaths again, trying to calm himself down. In
the distance, the sound of a police siren.
JOE looks at the watch SANDRA is wearing. He goes over to
SANDRA's body and pulls off her watch. Then he holds her hand
and looks at her wedding ring and engagement ring. He thinks
about it. Hesitates. Maybe even remembers when he loved her so
much that he wanted to marry her.
The phone starts ringing again. JOE pulls the rings off SANDRA's
finger.
JOE goes over to the dressing table and scoops up the money and
the jewellery.
The CAMERA follows him as he rushes to the bathroom, the sound
of the police siren getting louder and louder.
INT. JOE'S BATHROOM - EVENING
JOE stands in the middle of the bathroom. The CAMERA moves around
him, hand-held, as he tries to find a hiding place for the
jewellery.
The phone carries on ringing, and outside the sirens are louder.
JOE fumbles to get the lid off the toilet cistern. He drops in
the watches, the jewellery, and ANGUS's wallet.
He puts the lid back on the cistern.
The phone stops ringing.
JOE heads for the bedroom, then stops as he remembers the money
that he got from the kitchen. He takes it out of his pocket and
puts that in the toilet cistern, too.
Outside, the siren is louder than ever.
JOE realises that he's splashed water on the toilet seat and
the floor. He uses toilet paper to mop it up, then flushes it
away. He looks around, checking that he hasn't forgotten
anything.
JOE
Okay. Okay. It's okay.
JOE heads for the bedroom, followed by the
CAMERA, hand-held. He studies the room as
the CAMERA moves around him. Has he thought
of everything?
Outside, the squeal of brakes. On the
curtains, flashing blue lights.
JOE sits down next to SANDRA's body. He's
shaking again. He takes deep breaths, then
starts rehearsing what he's going to say.
JOE (CONT'D)
(to himself)
She's dead. She's dead. Who could have
done this? Sandra...
JOE pauses. It doesn't sound right. More deep breaths.
JOE (cont'd)
My wife...he killed my wife...
JOE sees the oven glove on the floor, next to ANGUS's body, where
he left it when he took off ANGUS's watch.
There's a look of horror on JOE's face as he realises that the
police mustn't find the glove upstairs.
Downstairs, the telephone starts to ring again.
JOE springs into action - grabbing the oven glove and running
full pelt out of the room, followed by the CAMERA, hand-held.
INT. JOE'S STAIRS - EVENING
JOE hurtles down the stairs, holding the oven glove, followed
by the CAMERA, hand-held, still in one continuous shot.
INT. JOE'S HALLWAY - EVENING
The CAMERA follows JOE down the hall towards the kitchen. The
hallway is illuminated by flashing blue lights.
Outside the sound of slamming doors.
The phone continues to ring.
INT. JOE'S KITCHEN - EVENING
JOE puts the oven glove on its hook and rushes back out, followed
by the CAMERA, hand-held.
INT. JOE'S HALLWAY - EVENING
JOE rushes through the hallway. There are two UNIFORMED
POLICEMEN walking towards the front door.
INT. JOE'S STAIRS - EVENING
JOE scrambles upstairs, followed by the hand-held CAMERA.
The doorbell rings. Muffled voices outside.
INT. JOE'S BEDROOM - EVENING
JOE collapses into the bedroom and throws himself on the bed.
UNIFORMED POLICEMAN (OFF SCREEN)
Police! Open up!
JOE cradles SANDRA's body. Starts to rehearse again.
JOE
Sandra. They killed her. They killed her.
JOE takes deep breaths.
JOE (cont'd)
It's my wife. They killed my wife.
From downstairs, the sound of the door being broken in. JOE sits
and waits.
Downstairs, the sound of the POLICEMEN storming into the hall.
One answers the phone, the other rushes upstairs.
UNIFORMED POLICEMAN (OFF SCREEN)
It's okay. We're inside.
A UNIFORMED POLICEMAN appears at the door to the bedroom.
FEMALE DETECTIVE (VOICE OVER)
And that's how you found her?
INT. POLICE INTERVIEW ROOM - EVENING
JOE is sitting at a table. Facing him, two detectives. One
FEMALE, aged late-thirties, the other MALE, late twenties.
We're never going to know their names. On one wall is a large
whiteboard.
JOE nods. He looks nervous.
JOE
On the bed with the knife... the knife...
in her chest.
JOE shakes his head. Trying to look distraught.
MALE DETECTIVE
And they were both dead when you found
them?
JOE
That's right.
MALE DETECTIVE
You're sure about that?
JOE frowns, not understanding.
MALE DETECTIVE (CONT'D)
The coroner puts the time of death at about
the time you phoned 999.
JOE
She was dead. They both were. I've seen
bodies before. Look, why all these
questions. Why aren't you looking for
whoever did this?
FEMALE DETECTIVE
We're exploring all avenues, Mr Waterman.
Can you tell me what Angus Thompson was
doing with your wife?
JOE gives her a long, hard look.
JOE
What do you think he was doing?
FEMALE DETECTIVE
Did you know they were having an affair?
JOE shakes his head.
FEMALE DETECTIVE (cont'd)
You're sure about that?
JOE
If I had done, I'd have put a stop to it.
Knowing looks from the two DETECTIVES. Both thinking the same
thing, that maybe he did put a stop to it.
JOE (CONT'D)
Sandra knew what time I came home. She'd
hardly likely have kept him there for me
to find.
FEMALE DETECTIVE
Maybe she wanted you to find them.
(shrugging)
It happens.
JOE
There was a burglary. It's the burglar you
should be looking for.
MALE DETECTIVE
Your fingerprints were on the knife.
JOE
Of course they were. It was our knife. From
the kitchen.
MALE DETECTIVE
Yours were the only fingerprints on it, Mr
Waterman.
JOE
So the burglar wore gloves.
FEMALE DETECTIVE
Why didn't they hear him breaking in?
JOE
Presumably because they were otherwise
engaged. Maybe the bedroom door was
closed. Look, why am I doing your thinking
for you?
The FEMALE DETECTIVE exchanges a look with her colleague. He
nods.
FEMALE DETECTIVE
We'd like you to stay with us for a while
yet.
JOE
Am I under arrest? Is that it? You think
I did it?
FEMALE DETECTIVE
You're just helping us with our enquiries.
Be more convenient if you were here, that's
all.
JOE looks as if he wants to argue, but then decides he doesn't
have a choice. He tries to smile confidently but it's the smile
of a trapped and frightened dog.
INT. POLICE CELL - NIGHT
JOE is lying, fully clothed, on a bed. He opens his eyes. JAMES
NAPEWORTH is standing by the closed door looking totally
relaxed. JOE sits up.
JOE
What happened?
NAPEWORTH
We did it.
JOE
What do you mean, we did it? It didn't
happen like you said it would.
NAPEWORTH
They're dead, aren't they? You got what you
wanted.
JOE
It wasn't what we planned. There was no
burglary. Nothing was taken. You said
you'd use a gun.
NAPEWORTH
What can I say? The best laid plans of mice
and men...
JOE
They think I did it.
NAPEWORTH
Joe...
JOE
You're trying to set me up, aren't you?
You're trying to frame me.
NAPEWORTH
Now you're being paranoid.
JOE stares at NAPEWORTH. NAPEWORTH laughs. A harsh, disjointed,
manic laugh.
JOE wakes up with a start. He'd imagined the whole conversation
with NAPEWORTH.
JOE sits up and puts his head in his hands.
FEMALE DETECTIVE (VOICE OVER)
Are you sure there isn't something you'd
like to get off your chest, Mr Waterman?
EXT. JOE'S HOUSE - DAY
The FEMALE DETECTIVE and the MALE DETECTIVE, both wearing long
coats, are escorting JOE towards the house, now a crime scene.
JOE
Such as?
A UNIFORMED POLICEMAN steps to the side to let them walk in to
the house.
INT. JOE'S HALLWAY - DAY
They walk through the hallway.
FEMALE DETECTIVE
You've had a chance to sleep on it. Maybe
things have become a little clearer now.
JOE
What about you? Are you looking for the
burglar?
FEMALE DETECTIVE
We've one or two reservations about the
burglary scenario.
INT. JOE'S KITCHEN - DAY
They walk into the kitchen. It's been dusted for fingerprints.
JOE
Like what?
MALE DETECTIVE
Like the fragments of glass we found on the
tea towel.
JOE looks at the two DETECTIVES, from one to other.
MALE DETECTIVE (CONT'D)
Glass fragments. Minute ones, but a match
for the glass that was broken.
FEMALE DETECTIVE
That's a worry, Mr Waterman. Assuming that
the burglar was on the outside trying to
get in, he could hardly use the towel to
break the glass, could he?
JOE's face shows that he's thinking frantically, looking for
an explanation, a way out. He's grasping at straws.
JOE points at the broken window.
JOE
Maybe he wiped his hands on the towel
afterwards. After he broke the window and
got in.
The FEMALE DETECTIVE pretends to look impressed.
FEMALE DETECTIVE
You've got a criminal mind, Mr Waterman.
We hadn't thought of that.
MALE DETECTIVE
What did you do after you found your wife
and Mr Thompson?
JOE
I called the police.
MALE DETECTIVE
From the phone in the hall?
JOE
Yes.
MALE DETECTIVE
And after you'd made the call?
JOE
I went back upstairs.
MALE DETECTIVE
You didn't come here?
JOE
Here?
MALE DETECTIVE
Into the kitchen. You didn't come into the
kitchen?
JOE
No.
FEMALE DETECTIVE
You're quite sure about that?
JOE thinks about it. Wonders what she knows. But decides it's
too late to change his mind.
JOE
No. I came down to call 999. Then I went
back to the bedroom. To be with my wife.
MALE DETECTIVE
So what would explain the blood on the oven
glove, Mr Waterman?
(a beat)
You having a criminal mind and all.
There's a long pause as both DETECTIVES stare at JOE. JOE is
thinking, frantically. It's starting to become clear that he
is very much a suspect.
JOE
Blood?
MALE DETECTIVE
Minute traces. But enough to get a match
with Angus Thompson's blood.
JOE shakes his head and exhales as if he's trying to work out
how such a thing could have happened.
FEMALE DETECTIVE
It's another worry, you see. Glass on the
tea towel, blood on the oven glove.
JOE
(A bit frantic)
The killer must have come down here after
he killed them. Looking for money, maybe.
FEMALE DETECTIVE
That's right. Your wife kept money in the
kitchen, you said. In a coffee jar.
JOE points at the cupboard where the coffee jar was.
JOE
In there.
FEMALE DETECTIVE
There was no money in the coffee jar.
JOE tries to look confident, but he actually looks scared. A
frightened fox with the hounds going in for the kill. He nods
eagerly, hoping that they'll believe him.
JOE
There you are then. He breaks in. Wipes his
hands on the tea towel. Picks up a knife.
Goes upstairs. Kills them. Comes back
downstairs. Looks for the money and in the
process gets blood on the oven glove.
The two DETECTIVES say nothing.
JOE (cont'd)
So you should be looking for the burglar.
Not wasting my time.
Another long silence. JOE looks from one to the other.
The DETECTIVES say nothing. Then the MALE DETECTIVE slowly
reaches into his coat pocket and produces an evidence bag.
Inside is SANDRA's jewellery, the watches, the wallet and the
money, everything that JOE had hidden in the toilet cistern.
JOE stares at it in horror.
Eventually he slumps against the kitchen counter. Beaten. They
know there was no burglar. JOE stares at them as he realises
that he's going to have to come up with another story.
JOE (cont'd)
Okay. I'll tell you what happened.
INT. POLICE INTERVIEW ROOM - DAY
The FEMALE DETECTIVE is taking notes as the MALE DETECTIVE
watches. A tape recorder is running, two tapes. A DUTY
SOLICITOR is sitting next to JOE. A UNIFORMED POLICEWOMAN comes
in with four plastic cups of tea on a tray and she sets them
out on the table. The UNIFORMED POLICEWOMAN leaves.
JOE
He wasn't supposed to kill them. He was
supposed to scare them, that's all. I
wanted to finish the affair.
FEMALE DETECTIVE
And how did you meet this mysterious Mr
Napeworth?
JOE
In a pub.
The MALE DETECTIVE makes a soft snorting sound.
FEMALE DETECTIVE
Just like that? In a pub?
JOE
On the Internet first. He sent me an
e-mail. Then he came up to me in a pub.
FEMALE DETECTIVE
And you gave him twenty thousand pounds?
JOE
That's right.
MALE DETECTIVE
You gave a complete stranger twenty
thousand pounds?
JOE nods. He looks uncertain as if he realises that his story
is sounding pretty thin.
MALE DETECTIVE (cont'd)
Where did you get the money from?
JOE
The building society.
A tight smile from the MALE DETECTIVE.
MALE DETECTIVE
It's a lot of money. Where did it come from?
JOE
My father left it to me. He died three years
ago. I was saving it.
MALE DETECTIVE
For a rainy day?
JOE glares at the MALE DETECTIVE but doesn't reply.
FEMALE DETECTIVE
Why were you so sure he'd do what you
wanted, Mr Waterman?
JOE
He showed me proof.
The FEMALE DETECTIVE and the MALE DETECTIVE share a look.
INT. POLICE CAR DRIVING DOWN ROAD - DAY
The MALE DETECTIVE is driving. The FEMALE DETECTIVE is in the
back with JOE. JOE is looking out of the window, frowning.
MALE DETECTIVE
Well?
JOE
I'm not sure. It was dark.
FEMALE DETECTIVE
Take your time, Mr Waterman.
JOE
Left. Turn left.
MALE DETECTIVE
Are you sure?
JOE frowns. Not sure. The car turns left.
JOE nods. Then points.
JOE
That's it. That's it!
EXT. NAPEWORTH'S FLAT - DAY
An ESTATE AGENT fumbles with keys as JOE, the FEMALE DETECTIVE
and the MALE DETECTIVE watch.
ESTATE AGENT
It's been on the market for three months
now.
JOE
Napeworth his name was. James Napeworth.
ESTATE AGENT
The flat's been empty since the owner moved
out.
JOE
A man. Early thirties? Short hair. Blue
eyes.
ESTATE AGENT
(shaking his head)
Mrs Elliott. She's in her eighties. Blind
as a bat. She's moved into a nursing home.
JOE looks worried. The ESTATE AGENT gets the door open.
INT. NAPEWORTH'S FLAT - DAY
JOE walks into the flat, followed by the FEMALE DETECTIVE and
the MALE DETECTIVE. It's exactly as it was when NAPEWORTH was
there. Dark and gloomy with the curtains closed. JOE still looks
worried but he tries to sound confident.
JOE
This is it.
The MALE DETECTIVE opens the curtains. Light floods in making
JOE blink. JOE walks over to the door leading to the room full
of photographs. He puts his handle on the door and hesitates.
Is the room going to be like it was before, photographs and
cuttings pinned to the walls?
He slowly opens the door. It's pitch black. He hesitates. The
FEMALE DETECTIVE moves JOE to the side and goes ahead of him.
INT. NAPEWORTH'S ROOM - DAY
The FEMALE DETECTIVE pulls open the curtains. JOE looks around
in amazement. Now the room is full of old lady's furniture. A
sagging bed. A wardrobe.
JOE frowns in confusion. Where are the photographs? The
newspaper cuttings?
JOE
There were photographs. All over the
walls. Photographs of people he'd killed.
The FEMALE DETECTIVE opens the wardrobe. It's empty.
JOE sits on the bed and puts his head in his hands. The MALE
DETECTIVE and the FEMALE DETECTIVE share a look. Is JOE cracking
up?
INT. POLICE INTERVIEW ROOM - DAY
JOE is being interviewed again. He's on one side of the table,
the MALE DETECTIVE and the FEMALE DETECTIVE are on the other.
The DUTY SOLICITOR is back at JOE's side.
JOE
That's what happened. Why would I make up
something like that?
FEMALE DETECTIVE
Are you sure you didn't go looking for a
hired killer?
JOE
I keep telling you! I didn't want anyone
killed. I wanted him to warn them off. I
wanted them so scared that they wouldn't
see each other again. But I didn't want
them dead.
MALE DETECTIVE
We went to the pub where you said you met
this Napeworth.
JOE
And?
INT. PUB - EVENING (FLASHBACK)
JOE is sitting alone at a table, nursing a pint of lager. The
PRETTY BARMAID looks across at him, polishing a glass.
MALE DETECTIVE (VOICE OVER)
She remembers you. But after your fireman
friends left, you were alone. You were a
bit worse for wear, she said.
INT. POLICE INTERVIEW ROOM - DAY
JOE looks bemused. In shock. He doesn't know what to say.
FEMALE DETECTIVE
When you got home and found them dead, what
made you decide to put the jewellery and
the money in the toilet cistern?
JOE
Because I knew that if it didn't look like
there'd been a burglary you'd think it was
me that had killed them.
JOE leans forward, eager to please.
JOE (CONT'D)
Look, I admit that I faked the robbery. I
admit I paid Napeworth to scare them. But
I didn't kill them.
JOE thinks, then remembers something.
JOE (CONT'D)
Look, I took twenty thousand pounds out of
the building society and gave it to
Napeworth. They'll have records. Five
days before he killed them.
There's a long silence. JOE realises that something is wrong.
JOE (CONT'D)
What?
FEMALE DETECTIVE
We did check.
JOE
And?
FEMALE DETECTIVE
Like you said, you withdrew twenty
thousand pounds five days before your wife
and her lover were murdered.
JOE
See? That proves what I'm saying.
The FEMALE DETECTIVE brings out an evidence bag containing a
stack of banknotes. Twenty thousand pounds. JOE stares at the
money in horror.
FEMALE DETECTIVE
We found it in the loft of your house. Under
the water tank.
JOE looks stunned. More than stunned. He stares at the two
DETECTIVES, then frowns in total confusion. The money was in
his loft? Why? Who put it there?
FEMALE DETECTIVE (CONT'D)
So you couldn't have paid anyone, could
you, Mr Waterman?
(a beat)
Why not just tell us the truth? Stop
wasting everybody's time. There never was
a mysterious stranger in the pub. There
never was a James Napeworth. Just you. And
a knife. In a rage.
JOE
That's not what happened. I told you what
happened.
FEMALE DETECTIVE
Yes, you told us what happened. You met him
through a chat room. He sent you an e-mail.
JOE
Yes.
FEMALE DETECTIVE
From an e-mail address that doesn't exist.
JOE frowns, totally confused.
FEMALE DETECTIVE (CONT'D)
Never existed, so far as we can tell.
JOE shakes his head in confusion.
The MALE DETECTIVE gets up and stands in front of the whiteboard.
He picks up a marker pen and removes the cap.
JOE
Why would I make up something like this?
Don't you think I know how it sounds?
FEMALE DETECTIVE
You can see why we have trouble believing
you, though? Can't you?
JOE is looking visibly distraught. The FEMALE DETECTIVE is
closing in for the kill.
FEMALE DETECTIVE (CONT'D)
Nothing you've said can be backed up.
There's no Napeworth. No e-mail address.
The money that you said you gave to
Napeworth was in your loft. Every penny of
it. Why would he do that, Mr Waterman? What
sort of man would do that? Kill people for
free?
JOE sits in stunned silence. He can't explain any of it.
The MALE DETECTIVE writes on the whiteboard, in capital letters.
He writes JAMES NAPEWORTH.
MALE DETECTIVE
Do you think we're stupid, Mr Waterman?
The MALE DETECTIVE writes underneath JAMES NAPEWORTH. He writes
quickly - taking the letters from JAMES NAPEWORTH but
rearranging them.
JOE stares in horror at what's being written underneath JAMES
NAPEWORTH. It's JOSEPH WATERMAN.
JAMES NAPEWORTH is an anagram of JOSEPH WATERMAN.
JOE stares at his own name, then looks up at the MALE DETECTIVE
and the FEMALE DETECTIVE.
MALE DETECTIVE (CONT'D)
Admit it, Mr Waterman. There is no James
Napeworth. You made him up.
JOE starts to shake his head. Why don't they believe him? They
look back at him, waiting for him to confess.
JOE
He's real. He set me up. Don't you see? He
killed them and framed me.
JOE can see that they don't believe him. He slumps in his chair.
Beaten. There's no way out. And on his face, a look of total
confusion as he realises that maybe, just maybe, he did imagine
NAPEWORTH. That he never existed.
JOE (cont'd)
I wasn't me. I didn't do it.
The MALE DETECTIVE underlines JAMES NAPEWORTH on the
whiteboard.
JOE (cont'd)
It was him.
He looks at them. They don't believe him.
INT. POLICE CELL - DAY
The cell door closes with a clang on JOE. JOE sits on his bunk,
shaking his head in confusion.
FADE OUT: