Screenplay

1 CLOSE UP - MOUTH

We open on a woman’s mouth, poised to speak, with full,

plump lips that open slowly to speak.

Suspenseful, brooding music plays. The kind of music that

promises action.

The woman raises a walkie-talkie to her mouth and speaks.

WOMAN

The decoys have been released. The

guests are safe to move.

CUT TO:

2 CLOSE UP - LIFT PANEL

The floor indicator panel above the lift doors shows the

progress of the lift, moving down the floors... 5, 4, 3, 2,

then G.

The camera tilts down to show two bodyguards flanking the

elevator.

As the doors open, SMASH CUT TO:

3 INT. CORRIDOR

A set of service elevator doors open onto a dingy corridor.

We see the legs of the people leaving this second elevator.

A woman’s legs, in tights and a skirt, and two sets of mens

legs wearing black suit trousers.

They walk briskly past the camera, the motion of which

carries on into:

4 INT. LOBBY

Against a plush red carpet, we see the legs of the two

people who have exited the main elevator: their legs are

clad in similar clothes as the legs we have seen in the

lift.

2.

5 INT. KITCHEN

Through a restaurant kitchen, we track the torsos of the

three who left the service elevator.

6 INT. LOBBY

Back to the couple striding through the lobby, we pan higher

to show that they are holding the man’s jacket over their

heads.

7 INT. UNDERGROUND CAR PARK

We follow the trio as they leave the kitchen door, spilling

out into the car park.

The third man, now revealed as a hotel employee, checks

behind them to see that no-one is following them.

8 INT. LOBBY

The couple arrive at the main doors of the hotel, beyond

which they can see a crowd of photographers, and an array of

professional cameras with huge flashguns strapped to the

top, some already snapping away.

9 EXT. HOTEL

The couple leave through the hotel doors, jacket still

firmly over their heads, and make for the waiting car.

As they walk, a paparazzo grips the back of the man’s

jacket, pulling it from their heads. The man lets out a cry.

This provokes a piranha-like frenzy, flashbulbs firing from

all sides for a moment, which quickly slow to a trickle.

The paparazzi audibly groan; the two people revealed under

the jacket look sheepish, and stand without fear of being

photographed.

PAPARAZZI 1

(O.S.)

That’s not them. You sodding

timewasters!

PAPARAZZI 2

What a waste of bloody film.

(CONTINUED)

CONTINUED: 3.

PAPARAZZI 1

Where are they? Where are your

bloody employers?

10 INT. LAUNDRY SHOP

The hotel employee, JULIUS, beckons the pair through.

He points to a back door.

JULIUS

And here we are, my friends.

Safety. An entrance the paparazzi

will never discover.

ROBERTO SHAW

Many thanks, Julius. You’ve saved

us.

Shaw presses a note into Julius’ hand.

JULIUS

A pleasure, sir. Our finest

customers deserve a little

adventure now and then. Your car

awaits.

Julius holds open the door for them to leave, looks both

ways then retreats back into the shop.

11 EXT. ALLEYWAY

A limousine pulls to a stop, at the other side of the

alleyway. The couple get inside, sitting down, relaxed, the

girl hugging in close to the man.

The driver adjusts the mirror and we see his eyes look back

at them.

ROBERTO SHAW

Let’s go, Tony.

MACKENZIE

Tony’s had some car trouble this

evening.

ROBERTO SHAW

Car trouble?

(CONTINUED)

CONTINUED: 4.

JACK MACKENZIE (38) turns, dressed with a driver’s cap over

otherwise scruffy clothes and lifts his camera from the seat

and starts taking rapid shots of the couple, first their

relaxed posture, then their reactions.

ROBERTO SHAW

What the hell is this?

MACKENZIE

Don’t worry, Shaw, you’ve nothing

to be ashamed of.

Shaw advances through the limousine, fist raised.

ROBERTO SHAW

These pictures can’t go out, do you

hear me?

Mackenzie lowers his camera, a wild look in his eyes. His

stare is fierce, and speaks of danger and a dangerous man

beneath.

It is a growl of a stare.

MACKENZIE

Think they will, right enough. Good

money in these pictures.

JENNI CASH

You’re an evil, evil man!

MACKENZIE

But I’m still a man. Just pretend

I’m not even here.

Mackenzie snaps a few more photos before leaving the limo,

throwing the hat in behind him.

MACKENZIE

Be seeing you soon, Shaw.

Shaw and Cash sit in the back seat, crestfallen.

A moped pulls up beside the car, and Mackenzie jumps on to

the back of it.

The moped speeds round the corner, where we see an identical

limousine being searched by police; the driver is being

questioned on the side of the road.

5.

12 CREDITS - UNREASONABLE BEHAVIOUR

Opening credits, which feature the photograph Mackenzie has

just taken on the front of newspapers, along with the

headline:

"Hollywood Affair: Sex Romp Exclusive"

13 EXT. AGENCY - MORNING

We’re outside the photographic agency Mackenzie works for.

London, EC2A, Clerkenwell.

SIGN: Ingrams Wray Associates.

14 INT. AGENCY

Mackenzie enters the office, which has a small waiting room

with a pot plant in it, an empty desk and two doors to other

offices.

One is open, the other closed. They each have a name

embossed on the glass: the open door reads "Susan Wray" and

the closed door "Hamilton Ingrams".

Through the open door we can see a woman sitting at a desk.

SUSAN (34) is blonde and wears a white shirt and blue jeans.

She sits with her bare feet on the table, tapping a pen

against her forehead while she reads a document. She calls

through the door:

SUSAN

If you keep skulking around out

there you’ll lower the tone.

Mackenzie peers round the doorframe.

SUSAN

It’ll affect the prices in the

neighbourhood. And you know how

much Hamilton worries.

MACKENZIE

Nothing to worry about. Nobody

wants to be round here except us

rats.

Susan lays down her paperwork and stretches.

(CONTINUED)

CONTINUED: 6.

SUSAN

Good morning, Mack.

MACKENZIE

Is it? You’re the first person who

seems to think so.

Susan stands and rifles through the newspapers on her desk.

SUSAN

I know that the last people you saw

can’t have been very happy.

MACKENZIE

Cash and Shaw.

The newspaper with Mackenzie’s photo on the front lies on

Susan’s desk.

SUSAN

Finally, someone caught them.

Nicely done.

MACKENZIE

I got them, alright.

SUSAN

Have to do anything illegal in the

process?

MACKENZIE

Nothing that’ll haunt you.

SUSAN

So Hamilton sold these last night?

What time were they taken?

MACKENZIE

Got them at 11. Processed by 12 and

got them to print for 1.

SUSAN

You’re outdoing yourself.

MACKENZIE

Beat the best, right?

SUSAN

How modest.

MACKENZIE

I distinctly remember you telling

me that there wasn’t time in life

for immodesty.

(CONTINUED)

CONTINUED: 7.

SUSAN

That’s right. You’re learning. Now

scoot on over to Hamilton’s office.

Wants to congratulate you in

person.

MACKENZIE

It’s nothing, really.

They exchange a smile as Mackenzie leaves.

15 INT. INGRAM’S OFFICE - DAY

Mackenzie enters the office.

He draws the package of photos from his pocket, and throws

them onto the desk.

HAMILTON INGRAMS (56), wearing a smart old-fashioned suit,

is talking on the phone as Mackenzie enters.

INGRAMS

Yes, yes, that’s right. I’ll have

my best team, my absolute best on

it. Mackenzie? Of course that’s who

I mean. The devil’s just walked

into my office, I’ll fire him up

immediately. Mmm-hmm. Fantastic.

Speak soon, ciao.

Mackenzie stands, silent.

INGRAMS

Ah, Mr Mackenzie. My favourite

person in the whole world!

MACKENZIE

While I’m here.

INGRAMS

Nonsense. All of the time.

Mackenzie indicates the photos.

MACKENZIE

Here’re the others, if anyone wants

more. Easy prey, though.

Ingrams grabs the packet, greedily, spreading the photos out

over the desk.

(CONTINUED)

CONTINUED: 8.

INGRAMS

Oh, come now, Mackenzie. Don’t be

so modest. These are your art, and

they’re wonderful. Such sought

after photographs. No-one else

could have achieved these, no-one.

Mackenzie walks over to the window and squints out at the

rising sun. He reaches for a packet of cigarettes and lights

one.

MACKENZIE

Yeah, well. Enjoy it while it

lasts.

INGRAMS

You’re my very best, Mackenzie. I

wasn’t exaggerating on the phone. I

don’t want you in some spiral of

despair, not over nothing. We’re

printing money, here.

Ingrams holds a photo up to the light and nods, pleased.

INGRAMS

What’s the matter? I can’t believe

it’s money troubles; even if it

was, this exclusive will keep you

afloat for a good long while.

MACKENZIE

It’s not the money.

INGRAMS

Good. So I’ll keep this cheque,

then.

Ingrams holds up a cheque. Mackenzie walks over, grabs it

and pockets it.

INGRAMS

Last week’s "pop star" drug bust.

It all comes around.

MACKENZIE

I’m leaving.

INGRAMS

Right then. I’m sure you have

shooting to be getting on with.

(CONTINUED)

CONTINUED: 9.

MACKENZIE

No; I mean I won’t be shooting for

you forever. I’ve got to get back

to the front.

INGRAMS

The front..?

MACKENZIE

The war. The war that’s still going

on.

INGRAMS

It’ll go on without you, they’re

not waiting for you to begin.

There’s always war, Mackenzie, but

that little scuffle in Vietnam’s

old news. People know all about it,

and they want something like this -

Ingrams indicates the photos.

INGRAMS

- to take their mind off it.

MACKENZIE

It’s not a scuffle, it’s a bloody

massacre. As soon as I get that

call, I’m leaving.

INGRAMS

You and I both know that you’re in

no state to be gallavanting off

abroad. Could catch malaria.

MACKENZIE

I’m fine now.

Mackenzie turns to leave.

INGRAMS

Oh, a small favour, Mackenzie. Got

a niece coming in from the country

next week. Wants to learn about

what it is that you do. God only

knows why. Not my real niece, some

distant relative of my wife’s. Rich

father, I think. She’ll ride out

with you, on your jobs.

MACKENZIE

Will she hell.

(CONTINUED)

CONTINUED: 10.

INGRAMS

Come now, don’t bite the hand that

caresses you so gently, Mackenzie.

Withholding work from you would

hurt us both. Come back on Monday

and we’ll have a little induction.

She’ll be fine, you’ll get along

famously.

MACKENZIE

You’ve never even met her.

INGRAMS

God, no, but she’ll be fine. Trust

me, Mackenzie! And stay incredible,

please.

Mackenzie leaves, slamming the door.

INGRAMS

Delightful man.

16 EXT. STREET - DAY

Mackenzie gets into his car (a 1960s Morris Minor) and

drives away.

He blinks in the early morning sun, rustles through his

pigsty of a car and produces a pair of broken sunglasses. We

follow his progress through London, into Hackney,

Mackenzie’s unpleasant neighbourhood.

He parks outside his house and enters.

17 INT. HOUSE - DAY

We get our first view of Mackenzie’s house - as disorganised

as his car.

He picks up two coffee cups as he walks through the room,

depositing them in the kitchen sink. He exits through the

kitchen, into the utility room.

There couldn’t be a starker contrast; there is no clutter

here, only shelving units piled high and neatly with lenses,

with long refrigerators full of film.

A door is at the end, with a red light above it. The

darkroom.

Mackenzie carefully picks out a couple of lenses, pockets

them and leaves the house.

11.

18 CAR - DRIVING

Mackenzie drives to a cheque cashing office, stops outside,

runs in, returns with a wad of cash which he stuffs inside

an envelope.

On his return a traffic warden has just started to write him

a ticket, but Mackenzie gets in the car and drives away,

waggling his finger at the warden.

Mackenzie navigates his car though London traffic, finding a

few interesting shortcuts on his way through Camden to get

to Hampstead Heath.

He arrives at a house, a large detached Georgian townhouse,

near the heath itself. It’s a world away from Hackney.

Mackenzie gets out of the car and regards his surroundings

with disdain.

He walks up to the house, outside which sit two

photographers. They notice Mackenzie.

PHOTOGRAPHER 1

Blessed be. The warrior returns.

PHOTOGRAPHER 2

Hello, Jackie. Give us a smile,

Jackie.

PHOTOGRAPHER 2 lifts his camera as if to take a photo of

Mackenzie as he passes.

Mackenzie doesn’t look but grips the lens of the camera and

pushes it aside.

PHOTOGRAPHER 2

Watch it, pal! Precision fucking

equipment here, you wanker.

PHOTOGRAPHER 1

Don’t vent on us, Mack. We’re not

the enemy, enemy’s in there.

Mackenzie ignores them and walks to the door.

He passes TOMMY, the CHAUFFEUR, standing against a black

car. They exchange nods.

TOMMY

Morning, sir.

(CONTINUED)

CONTINUED: 12.

MACKENZIE

Morning, Tommy. Kate’s in?

TOMMY

She is, and Mr Portman is just

about to leave.

Mackenzie walks up to Tommy.

MACKENZIE

I’m sure he’s got a busy day ahead

of him justifying things to the

country.

TOMMY

We’ve got Parliament first, then a

meeting with that rock musician

today, Mackenzie. Forget the name.

Thinks he wants to get into

politics. Later on, Wolseley, 3pm.

Mackenzie shakes his hand, a bill folded discreetly inside.

MACKENZIE

Thanks for that, Tommy. Not a press

call, then?

TOMMY

No. They’re discussing a private

matter first, I understand.

Mackenzie continues walking to the door.

MACKENZIE

I’ll be there.

He knocks at the door. Footsteps are heard; the door opens,

JANE the housemaid stands there.

She has a towel over her shoulder, is shaking a bottle of

baby formula and looks harassed.

MACKENZIE

Hello, Jane.

JANE

Jack. Now’s not a good time. Mr

Portman is incredibly -

A shout is heard from behind, in the hall. It gets louder as

it approaches.

(CONTINUED)

CONTINUED: 13.

DAVID PORTMAN

(off)

Jane! Where’s my bloody tie? I just

had it out, the one I’m wearing

today, and now it’s vanished. Jane!

Where are you, girl?

JANE

I’m at the front door, Mr Portman.

DAVID PORTMAN appears at the door.

DAVID PORTMAN

Look, Jane, I need the tie. I need

to leave.

He sees Mackenzie at the door.

DAVID PORTMAN

Oh. It’s you. Time for your

fortnightly visit, is it?

MACKENZIE

You know me. Regular like a healthy

bowel movement.

Portman screws his face up in disgust.

DAVID PORTMAN

God, honestly...

JANE

It’s here, sir. Your tie is in your

pocket.

Jane indicates his jacket pocket, from which it clearly

protrudes. Jane leaves, going back to the kitchen.

DAVID PORTMAN

Blast and damnation, of course it

is. What do you want, Mackenzie.

There’s no time for your nonsense,

not today. Or any other day, if

you’re thinking of postponing your

visit.

MACKENZIE

I just want what I always want,

Portman. A chat with your wife.

PORTMAN struggles to tie his tie through this exchange,

looking at a

(CONTINUED)

CONTINUED: 14.

DAVID PORTMAN

Yes, that’s right. My wife. Well,

be my guest. I’m not so insecure

that I can’t deal with that, unlike

some people.

MACKENZIE

What have you been hearing about

me?

DAVID PORTMAN

Nothing printable, Mackenzie.

Certainly not speakable by a member

of the Queen’s government.

MACKENZIE

The Queen’s? I thought it was the

government of the people.

Portman finishes tying his tie, and fixes Mackenzie with a

stare, before turning on his heel and walking away.

DAVID PORTMAN

The Queen is the power from whom we

derive our own authority,

Mackenzie. I’m sure they cover that

in basic paparazzi lesson one.

(PORTMAN walks away)

Kate! Kate! That man is here.

Mackenzie calls after him, but it’s too late.

MACKENZIE

I’m not a paparazzi. I’m a -

He looks back out at the paparazzi who wait at the gate.

KATE

(off)

You’re a photographer.

Mackenzie turns back to KATE, his ex-wife.

MACKENZIE

I’m a fucking photographer.

KATE

Oh, you’re a fucking photographer?

MACKENZIE

That’s right. I only do nudes. In

motion.

(CONTINUED)

CONTINUED: 15.

KATE

You don’t think I know? Jack, my

study was co-opted as a darkroom

for two years.

MACKENZIE

It had the right fittings.

KATE

I can still smell those damned

chemicals on my books. It’ll never

leave. Like you.

MACKENZIE

I brought you this.

Mackenzie holds out the envelope.

KATE

(sighs heavily)

How many times, Jack?

MACKENZIE

Tell me again.

KATE

We don’t need your money.

MACKENZIE

That’s child support, in full. I’ll

pay my share. It’s late, so there’s

more of it.

Kate accepts the envelope.

KATE

You can pay your share. You can

give me your money till the end of

time, it doesn’t matter. Just visit

her more.

Mackenzie looks away, out over the heath.

MACKENZIE

Is she here now?

KATE

No, Jack. She’s at school. That’s

how this works. Your first step

towards some normal state of

fatherhood might be to have some

concept of the time of day. Or of

the calendar. You know next week’s

her birthday?

(CONTINUED)

CONTINUED: 16.

MACKENZIE

Sure I know. Of course I know. How

could I forget going through that,

eight years ago.

KATE

Are you kidding me? Tell me you’re

joking; I went through it, Jack.

Not you. Turning up the day after

is not "going through it". And it

was nine years ago, Jack.

MACKENZIE

You can’t let this go? I was in

Africa, for god’s sake. I was in

the Congo, and it was a miracle I

even got the message. You think I

didn’t drop everything to come

back?

KATE

And you were five days with no

communications. Five days of

worrying where you even were, five

days alone and-

Kate holds her head in her hand, on the verge of tears.

KATE

Jack. Jack! I can’t have this

conversation again. Thank you for

this -

Kate holds up the envelope.

KATE

You don’t have to deliver it in

person, you know.

MACKENZIE

I like to.

KATE

I would prefer you didn’t.

Mackenzie stares away, Kate looks directly at him. They

pause, neither sure what more to say. trout mask replica

MACKENZIE

Right, then.

Mackenzie turns on his heel, storming off down the drive.

(CONTINUED)

CONTINUED: 17.

KATE

Jack! Please, just... do something.

Call her. Take her out sometime.

Connect with your daughter. Not for

me, but for her!

As Mackenzie walks down the drive, it begins to thunder.

19 INT. CAR - DAY

There is now a torrential downpour, as Mackenzie drives. He

fiddles with a police band scanner which sits in place of a

car radio. He flicks through the channels, hearing reports

of accidents, disturbances, before settling on an ambulance

channels, which says that "severe accident on the A40 has

slowed traffic".

He takes an exit before he reaches the A40, and stops to buy

a bagel and a coffee, bringing them back into the car

through the pouring rain.

He parks his car in a on the street and makes his way to the

Ivy restaurant, in time for lunch.

As he approaches, the rain slackens off, and a small group

of paparazzi who have been huddling underneath a shared

umbrella emerge from it.

MACKENZIE

Alright there, girls?

ALAN, a tall, threatening-looking photographer, towers over

Mackenzie. He is Welsh, and has neck tattoos.

ALAN

Piss off.

MACKENZIE

Go stick your head in a band saw.

ALAN

You think you’re hard enough?

MACKENZIE

No, I just think you’re soft

enough.

It seems a very threatening confrontation, until a hint of a

smile appears on Alan’s face, and he sticks his hand out;

they shake hands.

(CONTINUED)

CONTINUED: 18.

ALAN

Good to see you too, Mack. How you

been?

MACKENZIE

I’ve been around, Al, I’ve been

around.

ALAN

Not seen you for an Ivy lunch in...

well, I’m not sure I’ve ever seen

you here.

MACKENZIE

Not really my scene.

ALAN

You’re in it for the chase; this is

more like the petting zoo of

reportage, sure enough.

MACKENZIE

(nodding)

The prey are serving themselves up.

Alan turns to look at the two people who have just exited

The Ivy, walking slowly in their finery.

ALAN

Nah, small fry, these. Come here

every day, and every day I don’t

take their photo.

MACKENZIE

What are you still doing on this

milk run? You’re better than this,

Al.

ALAN

Tell me about it.

MACKENZIE

Right.

ALAN

No, go on. Tell me about how much

better I am; I need to hear it. You

know what it’s like, Mack. Papers

don’t want the truth anymore. I

can’t keep chasing it.

(CONTINUED)

CONTINUED: 19.

MACKENZIE

You used to - remember that

Christmas day in Namibia?

ALAN

I remember it. I’ve never regained

feeling in my left hand.

MACKENZIE

I’ll be back out there, soon.

ALAN

You can.

MACKENZIE

I will. Heading east.

ALAN

Vietnam?

MACKENZIE

Or Cambodia. Soon as I find someone

to pay for it, I’ll be gone. Don’t

you want to? It’d feel good.

ALAN

Mack, the only thing that feels

good right now is getting cheques

that aren’t smeared in blood. And

getting to go home, to my own bed,

every night.

Mackenzie is silent.

ALAN

If you’re not fulfilled doing this,

get back out into the field. But

remember; you’re not invincible.

MACKENZIE

I could be.

ALAN

You’re not.

MACKENZIE

See you, Al.

ALAN

Keep well, Mack.

20.

20 EXT. SOHO STREETS - DUSK

Mackenzie leaves. We follow him around the neon-stained

district of Soho, mooching about. He takes two stops for

drinks, two different bars.

By now slightly drunk, it’s nighttime.

He meanders, until he spots something that catches his

attention.

Someone tumbles out of a club; a girl - a famous actress.

MACKENZIE

(slurs)

Melanie! Melanie... Lincoln. Right?

Mackenzie starts to snap photos, but stops when he sees her

look up, crying. He takes one last photo then stops,

offering his hand to help her up.

As he does so, a punch comes in from his left.

ENTOURAGE 1

Fucking arsehole! She’s on the

floor, and you’re taking

photographs!

Mackenzie falls to the floor, with two large men above him.

They are with the celebrity he took photos of.

MACKENZIE

S’my job.

ENTOURAGE 2

Your job to take pitchers of people

falling over?

MACKENZIE

Yup; n’your job to help them up.

ENTOURAGE 1

Our job to deal with wankers like

yourself, you mean.

MACKENZIE

I don’t need dealing with.

ENTOURAGE 1

Film.

(CONTINUED)

CONTINUED: 21.

MACKENZIE

Whassat?

ENTOURAGE 2 grabs the camera from Mackenzie’s hand and pulls

out the film.

ENTOURAGE 2

We’ll have this.

Mackenzie starts to leap up, enraged.

MACKENZIE

You can’t fuckin take that, that’s

my life!

ENTOURAGE 1 kicks him to the floor, in the chest. Then a

boot in the stomach for good measure.

ENTOURAGE 1

Here’s the deal. We’ll give you the

camera back, we keep the photos.

Sounds good to me. You, Neville?

ENTOURAGE 2

Good to me.

They drop the camera next to Mackenzie and help their client

on her feet and into a waiting limousine.

21 INT. AGENCY - DAY

We don’t know how much time has passed; but when Mackenzie

walks into the agency, he wears sunglasses and has a large

red mark on the side of his face. He waves to the

receptionist.

MACKENZIE

Marcy.

MARCY

What happened this time?

MACKENZIE

Would you believe me if I lied to

you?

MARCY

Try me.

MACKENZIE

My mother beats me. I walked into a

door. My cow didn’t want to be

(MORE)

(CONTINUED)

CONTINUED: 22.

MACKENZIE (cont’d)milked this morning. I showed a red

rag to a bull.

MARCY

Nope, no sell.

MACKENZIE

Damn.

MARCY

The truth?

MACKENZIE

The truth hurts.

MARCY

Looks like everything hurts right

now.

MACKENZIE

I have a small area on my left knee

that’s not bad.

MARCY

Go right in; the boss has a

surprise for you.

22 INT. INGRAM’S OFFICE - DAY

Ingrams sits at his desk, and JESSICA (18, long hair,

dressed in jeans and a t-shirt) sits in front of the desk.

INGRAMS

Here he is, the man I’ve just been

eulogizing. Mackenzie, Jessica; and

vice versa.

Mackenzie sits next to Jessica and looks at her.

MACKENZIE

Hello.

JESSICA

Hello.

INGRAMS

Hello, yes, yes. Good, you’re

getting on already. Now, Jessica,

tell Mr. Mackenzie all about why

you like photography.

(CONTINUED)

CONTINUED: 23.

MACKENZIE

Really? We’re doing this now?

INGRAMS

Yes we are, snapper. So play nice.

Jessica?

JESSICA

It’s the art of capturing the

moment, the important moments that

pass between people and their

actions.

MACKENZIE

And you’re aware that you’ve come

to a place which values the capture

of moments for the wrong reasons

entirely?

JESSICA

(smiling)

Oh, yes. But you have to start

somewhere.

INGRAMS

Alright, well, maybe. Maybe you’re

getting on too well. I’m going to

need you to take Jessica on a

ride-along, Mackenzie.

MACKENZIE

What is this, a fucking cop-show?

INGRAMS

It’s not a fucking cop show, no.

It’s a business. And if there are

two of you, that’s two lenses that

can be used at once.

MACKENZIE

I didn’t touch the camera my first

two years in the business.

JESSICA

Can’t have taken many photos, then.

MACKENZIE

No, smart-arse, I didn’t.

24.

23 INT. CAR - DAY

Jessica makes room in his passenger seat with difficulty.

The glove compartment is large, and is as neat as his

utility room amongst the clutter.

As they talk, Jessica starts to take out her camera.

MACKENZIE

So what’s your old man do?

JESSICA

My old man?

MACKENZIE

Dad, your dad. What’s he do? He’s

rich. I hear he’s a rich man.

JESSICA

What?

MACKENZIE

Well-off. Well-to-do. Well done.

JESSICA

He teaches. In a school.

MACKENZIE

A posh school?

JESSICA

No. Just a school.

MACKENZIE

Really. What does he teach?

JESSICA

He’s an English teacher. He used to

be a journalist, though.

MACKENZIE

What kind?

JESSICA

Why did you ask me if my dad was

rich?

MACKENZIE

I don’t know.

JESSICA

Why do you care?

(CONTINUED)

CONTINUED: 25.

MACKENZIE

I don’t.

JESSICA

You said it like it mattered to

you.

MACKENZIE

Drop it. It doesn’t.

JESSICA

Fine.

MACKENZIE

Right.

Pause.

JESSICA

Have you been to Vietnam?

MACKENZIE

Yes.

JESSICA

What’s it like?

MACKENZIE

Really? That’s your big question?

Think it over and maybe I’ll answer

you.

Silence. Jessica stares ahead, before starting to assemble

her camera, practically from scratch.

Like a marine assembling an assault rifle, Jessica’s hands

move fast and are sure and precise in their motions.

She attaches the strap, clicks on the lens, screws on a UV

filter after looking out at the sky, attaches a large

flashgun and checks the mechanism.

Mackenzie, in spite of himself, looks over at what she’s

doing with interest. He is impressed at the speed with which

she has assembled it. This girl isn’t the airhead he

expected.

MACKENZIE

What’s -

JESSICA

What’s what?

(CONTINUED)

CONTINUED: 26.

MACKENZIE

What’s that?

JESSICA

Well, the man in the shop said it

was a camera. I thought you’d know

what they looked like, at least.

MACKENZIE

Don’t get cute, kid. What camera is

it?

JESSICA

Eyes on the road, Mackenzie.

Mackenzie looks back up, straightens the wheel a little.

JESSICA

Nikon FM2.

MACKENZIE

Good little camera. Basic.

JESSICA

Yes, basic.

MACKENZIE

But it works.

JESSICA

It seems to, sir. When I press this

button, it takes a photograph of

whatever I’m facing. It’s very well

behaved.

MACKENZIE

Again with the cute. I assume you

know which way to point it.

JESSICA

If you know who we should be

pointing it at.

MACKENZIE

(sighs)

Jessica, why do you want to do

this?

JESSICA

I’ve always done this.

Jessica holds up the camera.

(CONTINUED)

CONTINUED: 27.

MACKENZIE

No, not that. This. This - this

half-life. Following fame. As if

you need that headache.

JESSICA

I just - I need it to enable what I

want to do.

MACKENZIE

Which is what?

JESSICA

Why do you do it?

Mackenzie looks away, out the window.

MACKENZIE

We’re here. You ready?

24 EXT. RECORDING STUDIO - DAY

Mackenzie and Jessica have arrived at a recording studio,

where they hope to take some photographs of the musicians

working there.

MACKENZIE

You see a musician, snap him. You

see anyone looks like a musician,

snap him. You see anyone looks like

a studio boffin, maybe snap him

too. Never know with these

musicians. These new ones, they’re

all nerds.

JESSICA

What do you want to do?

MACKENZIE

I just told you. Snap ’em.

JESSICA

No, I mean when you escape doing

this.

MACKENZIE

Why do you say that?

JESSICA

You don’t seem to love doing this

job.

(CONTINUED)

CONTINUED: 28.

MACKENZIE

Yeah, well. Who loves their job,

anyway?

A MUSICIAN exits the building. They both take some photos.

The MUSICIAN poses for them, flashes the V-sign, before

walking on.

JESSICA

Someone you know?

MACKENZIE

Think he was a roadie.

JESSICA

So what are the things you’ve done?

MACKENZIE

(pause)

I’ve spent a lot of time overseas.

JESSICA

Overseas? Taking photographs?

MACKENZIE

That’s right. Shooting important

subjects. Covering areas of

conflict.

JESSICA

Conflict.. warzones? Shooting wars?

MACKENZIE

Shooting wars.

JESSICA

That’s.. that’s incredible. How are

you - no, wait. What’s your first

name?

MACKENZIE

John. Or Jack. Whichever.

JESSICA

You’re Jack Mackenzie? Jack

Mackenzie whose shots were in the

Sunday Times?

MACKENZIE

The same.

(CONTINUED)

CONTINUED: 29.

JESSICA

Mr. Mackenzie, I had no idea... I

can’t believe this. I’m a huge fan

- I thought that - because of Mr.

Ingrams, that you weren’t, you

weren’t -

MACKENZIE

A real photographer?

JESSICA

Yes! I mean, no. Not that -

MACKENZIE

It’s ok to judge me. I do.

JESSICA

No, it’s just - I can’t believe

that it’s you, you’re -

MACKENZIE

Is this going to interfere with

your work?

JESSICA

No, no, of course not, no.

MACKENZIE

Good. We’re done here. I’ve got

phone calls to make.

25 EXT. STREET - DAY

Jessica sits in the car, staring out at Mackenzie, who is

inside a telephone box, making calls.

He has a notebook with names and numbers, which he is

working methodically down, looking for leads.

MACKENZIE

Nothing tonight? Really nothing?

It’s a big city.

(he listens)

No, you’re right. That isn’t worth

my time. Right then. Thanks.

(he ends the call, then dials

a new number)

Arthur? Mackenzie. Tonight,

anything?

(CONTINUED)

CONTINUED: 30.

ARTHUR

(V.O.)

Nothing worth mentioning in town,

but I might have something juicy

out in Richmond.

MACKENZIE

Richmond? Better be good to trek

out there.

ARTHUR

(V.O.)

Well; could be. James Collins, the

American ambassador, is having a

little get together at his place

out there. I don’t know the details

but it should be a sparkling

guestlist.

MACKENZIE

(writing)

Collins, Richmond. Could work.

Thanks, Arthur. I’ll take care of

you when I see you.

ARTHUR

See you then. Cash, of course.

Mackenzie hangs up and walks to the car.

26 INT CAR - DUSK

JESSICA

So we’re going to -

MACKENZIE

I told you, Richmond.

JESSICA

But who are we shooting?

MACKENZIE

It doesn’t need concern you.

JESSICA

Why not?

MACKENZIE

Ok. We’re shooting a celebrity dog.

He’s just bought a house down there

and the papers are dying to get

snaps.

(CONTINUED)

CONTINUED: 31.

JESSICA

Very good. I can’t wait. I’ll just

put on my dog lens, and I’m ready.

MACKENZIE

You won’t be shooting this one.

JESSICA

Why not?

MACKENZIE

I’ll be shooting at range,

camouflaged. You stay with the car.

JESSICA

What it like, doing this properly?

MACKENZIE

What do you mean?

JESSICA

You know, when you get out of

London. When you go abroad.

MACKENZIE

Why’s that any different?

JESSICA

Because... because you’re shooting

things that are.. more worthwhile.

MACKENZIE

There is no worthwhile. There are

only images. What makes you think

that things here, or in any part of

Britain, are less worthwhile?

JESSICA

Because. They’re familiar.

MACKENZIE

Ah, well, here, child, we have some

answer. We, as photographers,

challenge familiarities,

assumptions, people. If you can’t

do it here, where you proclaim your

complete understanding of this

world, how can you go elsewhere?

How can you contextualise the

experience abroad for an audience

at home?

(CONTINUED)

CONTINUED: 32.

JESSICA

I’m not a child.

MACKENZIE

You’re lucky I’m even taking you.

They pull up in a residential street, with large houses on

all sides.

MACKENZIE

Right. These.

(he produces two large

walkie-talkies)

Will keep us in touch.

JESSICA

Right.

MACKENZIE

You press here to talk, press

nothing to listen. I’m going down

to take shots; you stay here with

this pad and write down the names I

tell you. Alright? It’ll save me

time later. And you’ll learn a

thing or two.

JESSICA

I already know how to write and to

listen.

MACKENZIE

You think you do. Everything thinks

they do. But now’s your chance to

really learn.

27 EXT. MANSION - NIGHT

Mackenzie leaves Jessica in the car, some distance from the

house.

He walks down a tree-lined street, across the road and into

a small park.

He walks through the park until he reaches a thick copse of

trees.

Mackenzie climbs the tree, hiding in its branches and

looking out through them at a large house. He takes out a

large zoom lens and attaches it to the camera, then looks

out at the party.

(CONTINUED)

CONTINUED: 33.

Inside the house, lights are on. People are visible near the

windows, but he doesn’t have a clear shot at them.

MACKENZIE

(into walkie talkie)

Nothing yet. How’re you holding up?

JESSICA

(O.S.)

Fine. Got anything to eat in this

car?

MACKENZIE

Might be some crips in the bottom

there, under the seat.

JESSICA

Urgh. Literally under the seat. No

bag?

MACKENZIE

They fell out a while ago. Quiet

now.

Mackenzie looks at the house, peering through his camera,

trying to get an identification.

MACKENZIE

James Collins, U.S. Ambassador.

JESSICA

(writing)

James Collins, check.

MACKENZIE

Unknown Asian man.

JESSICA

Unknown Asian man.

MACKENZIE

Korean, maybe. Looks uncomfortable.

JESSICA

Check.

There is more movement inside the house. People seem to be

getting up to leave.

The front door opens, and two large men in black suits exit,

looking around.

(CONTINUED)

CONTINUED: 34.

MACKENZIE

Movement. Bodyguards.

JESSICA

Bodyguards.

MACKENZIE

Don’t write that down -

JESSICA

Too late.

A pair of men exit; Ambassador Collins and a bald man with a

scar across his left cheek.

MACKENZIE

Collins, Collins and - fuck.

JESSICA

Collins and fuck?

Mackenzie starts snapping away.

MACKENZIE

Nikolai Vichnov. Arms dealer.

Russian. Fucker.

The bough of Mackenzie’s tree starts to bend. He doesn’t

notice, attention fully on the camera.

MACKENZIE

This could be bad; Jessica, start

the car.

JESSICA

Uh - I don’t drive, sir.

MACKENZIE

Learn quick.

Mackenzie continues to take photos, inching forward on the

branch. It creaks, and just as he looks down in panic, snaps

loudly, crashing to the ground.

The two BODYGUARDS snap to attention, and start to run

towards Mackenzie’s position.

As the BODYGUARDS exit the gates, they are two hundred

metres from Mackenzie. Mackenzie picks himself up out of the

fallen branch, checks his camera, and looks at the

BODYGUARDS.

(CONTINUED)

CONTINUED: 35.

MACKENZIE

Oh boy.

As they run, they draw handguns and start to fire.

MACKENZIE

Oh shit.

Mackenzie falls back into the forest, scrabbles over for

purchase in the muddy undergrowth and starts to race up the

hill.

MACKENZIE

Jessica, Jessica, fuck, where’s the

car, drive, you driving?

JESSICA

(bursts of static)

Mack... are you... know anything...

Mackenzie rips off the walkie talkie and throws it away to

the left of the direction he’s heading in.

More gunshots ring around his ears, narrowly missing him and

hitting a tree.

28 EXT. STREET - NIGHT

A very quiet suburban street - the street Jessica was parked

on. No activity whatsoever.

Mackenzie bursts through the treeline, panting heavily. He

looks both ways, frantically.

MACKENZIE

Where’s the fucking car. Where’s

the fucking car.

(beat)

Where’s the fucking kid?

The BODYGUARDS emerge from the wood, a hundred metres along

the road from Mackenzie. They sight him and start to walk

towards him, guns held steady. One of the BODYGUARDS screws

a SILENCER onto his pistol.

There’s no doubt that they intend to kill him; the only

thing stopping them is their awareness of the houses so

close by.

One of the BODYGUARDS puts his finger to his lips and

shushes Mackenzie, a warning to be quiet. The BODYGUARDS

smile. They’re enjoying this.

(CONTINUED)

CONTINUED: 36.

The silenced gun is raised, and Mackenzie faces them,

unflinching. The BODYGUARD shoots, and Mackenzie crumples.

A distant noise is heard, a car motor. Nothing is seen; but

as Jessica approaches in the car, the BODYGUARDS turn; she

flicks the lights on, dazzling them, and forcing them to

dive out the way of the car.

Jessica speeds up, screeching to a halt by Mackenzie, who

lifts himself up off the ground and gets into the car.

As they pull off, a bullet whizzes through their back

window.

JESSICA

I’m driving I’m driving I’m

driving!

MACKENZIE

Fucking right you are. Where the

hell have you been?

JESSICA

Just had to get to grips with this

thing. Got it.

Jessica shifts up gears, inexpertly but decisively.

Mackenzie looks over at her, surprised.

Jessica looks over at Mackenzie.

JESSICA

Are you alright?

MACKENZIE

Eyes on the road.

JESSICA

(eyes forward)

Right.

Pause as they drive on.

Mackenzie looks out the back window, but there’s no sign of

pursuit.

JESSICA

You’re not hurt? You were down.

Jessica looks him over again; his camera is ruined, a mass

of metal sucked inwards, the bullet penetrating the Nikon

but not Mackenzie.

(CONTINUED)

CONTINUED: 37.

MACKENZIE

My goddamn camera. You sons of

bitches! You lowlife, scumbag,

Russian scrotums...

Jessica looks over at Mackenzie, concerned.

Which means that she doesn’t see the red light.

Or the police car that they crash straight into.

The police car’s lights flash over Mackenzie’s car, which

exudes steam from the bonnet.

MACKENZIE

You breathing?

JESSICA

I fucked up.

MACKENZIE

You’re not wrong.

JESSICA

I’m sorry.

MACKENZIE

There’s no need. Happens to us all

on the first day.

JESSICA

Are we in trouble?

MACKENZIE

Depends.

Outside, the policemen are getting out of their car, unhurt.

JESSICA

On what?

MACKENZIE

Well, they’ll give us some trouble.

But that’s just normal police

stuff.

Mackenzie looks behind him, through the car’s rear-view

mirror.

A monstrous, silver BMW peeks over the hill, but seeing the

police car makes a u-turn in the road.

(CONTINUED)

CONTINUED: 38.

JESSICA

Who were we running from?

MACKENZIE

We’re still running.

END.