The Night Manager Ep4 Final

THE NIGHT MANAGER
Written by
David Farr
Based on the novel by John

le Carré
Episode 4
PINK REVISIONS
30-3-15
For The Ink Factory

Developed in association
with the British
Broadcasting Corporation
@ BBC / The Ink Factory
1 INT. MALLORCA. ROPER’S VILLA. OFFICE/LIVING SPACE. DAY. 1
DICKY ROPER’s face is staring right at camera.
ROPER
Want to know how it works?
PINE’s face. Close-up. He smiles. Nods.
ROPER’s face, close up.
ROPER (CONT’D)
Fig leaf operation. You’re the fig
leaf. Straw man the Germans called
it. Andrew Birch. Director of
Tradepass Holdings. 34 years old.
Merchant venturer, decent record in
commerce, no skeletons, no murky
past. Maybe we’ve done deals
before, maybe we haven’t, let them
guess. I go to the clowns - George
and his friends, the brokers, the
venture boys, flexible banks and I
say “Got a very smart cookie here,
brilliant plan, needs backing,
something to do with agricultural
hardware, global roll-out, quick
profits, my gift to you. He’s
young, he’s handsome, he’s good
with the right people, didn’t want
you missing out. It’s called
Tradepass. Double your money in
four months max.” It’s trust Dicky
time. Very tight circle, few chaps
as possible. We register the
company in Cyprus, bank in Geneva,
no questions asked, no accounts to
be filed. You’re my lead actor,
you’re my main man, you’re my star.
We make the deal, no one knows what
we’re really buying, no one wants
to know, no one cares, they just
want money, they don’t want to know
what’s really at stake, they
wouldn’t sleep at night, they
wouldn’t wake up with their perfect
wives in their perfect beds and
make breakfast for their perfect
little children, little eggs in
china cups, they mustn’t know how
the money is made, no one must know
Andrew. Just you and me. We know.
Our eyes are OPEN.
Beat
The Night Manager ep 4 final
ROPER (CONT’D)
And then. When the deal’s done, and
the profits taken, the company
ceases trading, disappears off the
face of the earth. Something
happened. No one knows what. Except
us. We know.
PINE
And what did happen?
ROPER smiles. A door opens. ROPER swivels fast.
It’s JED.
JED
Listen it’s eleven o’clock.
Beat. She stares coolly at PINE and ROPER who are standing
side by side.
JED (CONT’D)
What’s going on?
ROPER
It’s a business meeting that’s
what. I thought I told you.
A coldness between them is apparent.
JED
A business meeting with Thomas?
ROPER
Not Thomas. Andrew. Andrew is
coming aboard.
He stares at her defiantly.
JED
Well in case you and Andrew forgot,
Danny’s leaving now. I thought you
might want to take him to the
airport.
ROPER
No you take him. I don’t have the
time.
JED
Why don’t you tell him that
yourself.
DANIEL appears carrying a picture of some flowers. Not just

any flowers. The flowers PINE put in the room.
ROPER
What’s that?
DANNY
It’s a goodbye present.
DANIEL blushes. Hands it to ROPER. Beat.
ROPER
My god I think the boy’s got
talent.
Beat.
ROPER (CONT’D)
Right. Time you were going.
DANIEL
Aren’t you coming?
Beat. ROPER stares at him.
ROPER
Can’t I’m afraid. Your mother will
be at the other end. Come on be a
man.
DANNY turns, upset, walks out of the room. JED stares at

ROPER. Then at PINE. As ROPER stares at this rather sad,
rather lovely painting.
TITLE: THE NIGHT MANAGER
2 EXT. LONDON STREETS. DAY. 2
REX MAYHEW is cycling. Rush hour, busy traffic. But he has

taken this road many times before.
He turns into the two-lane road that takes him from Swiss
Cottage down to St John’s Wood.
A grey van comes up behind him. MAYHEW eases into the middle
to let it pass on his left.
But it does not.
MAYHEW looks back, he can’t see who is driving.
Then the van accelerates alongside on his left.
MAYHEW continues to cycle.
Then another van comes up on his right, both vans drive at

exactly the same speed on either side of MAYHEW.
He accelerates. They accelerate.
He brakes.
Only to see another van right up behind him. Grubby

windscreen, impossible to look into.
Now he knows.
The vans start to move close together. Squeezing him.
MAYHEW sees a traffic light ahead. It’s green.
He prays. Please go red. Please go red.
The light goes red. MAYHEW starts to slow, the vans follow
suit.
Then suddenly MAYHEW accelerates! Breaks the red light, is

almost killed by a Mercedes that is coming from the right to
join the road, a furious blaring of horns, shouts of rage
from the Merc, but MAYHEW doesn’t care, he is cycling for his
life, full pelt towards the centre of London.
3 OMITTED 3
4 INT. MALLORCA. PENINSULAR. FISHERMAN’S COTTAGE. NIGHT. 4
PINE lies back, deep in the night. Apparently sleeping.
Then his eyes open.
He lifts a floorboard, grabs a knife from underneath.
Walks quietly out and into the living room.
He opens the front door.
Walks fast to confront the figure who is in the small alley

beside the house.
Grabs the figure.
Then pauses in shock.
It is JED.
She stares at the knife in his hand.
PINE looks around. No one in the darkness.
PINE
Come in.
5 INT. MALLORCA. PENINSULAR. FISHERMAN’S COTTAGE. NIGHT. 5
JED sits on a small wooden stool. PINE is boiling a kettle.

Controlling his nerves.
JED
No one saw me.
PINE
You saw no one see you. That’s not
the same thing.
He looks out the window into the darkness.
PINE (CONT’D)
Where’s Roper?
JED
He left late last night for a
meeting in Geneva.
He hands her a drink.
PINE
You want milk?
JED
Just sugar.
PINE
This wasn’t very sensible of you.
Beat.
JED
I’m sorry if my recklessness upsets
you.
A challenge. PINE gives her sugar, flicks a look out the

window. Beat. She sips her coffee.
JED (CONT’D)
So. Andrew. You’re joining the
Roper ship are you?
PINE
Maybe.
A challenge.
JED
It’s funny. I thought you were
trying to sink it.
PINE
What makes you think that?
JED
Why else would you break into his
study?
PINE
Same reason you did. I’m just keen
to find out who the man is who’s
employing me.
JED
I’m not employed by anyone.
PINE
Aren’t you?
JED
We’re in a relationship Andrew.
PINE
Business or pleasure.
JED
Love.
He smiles.
JED (CONT’D)
What’s so funny about that?
PINE
If it’s love. Shouldn’t it be
honest?
JED
What the hell are you talking
about?
PINE flicks the camera until it shows the small boy he took
the photo of from Jed’s drawer.
JED (CONT’D)
Where d’you get this?
PINE
I found it in your room. In a
drawer.
She stares at it. Then slaps PINE hard.
JED
It wasn’t in just any drawer was
it?
PINE
Is he your son?
JED
None of your business.
PINE
Who were you talking to on the
phone that afternoon?
JED
Quite the detective aren’t you?
She stares at the photo.
JED (CONT’D)
I was talking to my sister in
Desmoines. She looks after him.
PINE
Why did you leave?
She speaks coolly. No self-pity.
JED
Because I was seventeen years old
and not exactly made out for
motherhood. That’s why.
PINE
Who’s the father?
JED
Does it matter? My sister had a kid
already, her husband’s a decent
guy, he’s not going to win prizes
for Mr Interesting but on the plus
side he doesn’t do meth for
breakfast so it was the right
decision.
PINE
Does Roper know?
JED
No. And he mustn’t.
PINE
Why?
JED
Because that’s not what he bought
on the upper east side. I’m a
firework across his night sky, not
some pitiful train wreck with a
secret. I dazzle, I don’t droop.
That’s how I survive. And just in
case you get the wrong idea, I like
it like that. I like to live fast,
I like rich clothes against my body
and lotions on my skin. And I
really like Richard Roper in my
bed.
PINE
Then why are you here?
Beat. She speaks quietly.

JED
You know what. I have no idea.
She gets up. He takes her arm hard.
PINE
He goes away for one night, you
come here to my cottage. Every time
he leaves the room, you look at me.
They are close. Very close. Heat between them.
JED
Who are you? I want to know.
Beat.
PINE
Trust me. You don’t.
She moves to kiss him.
PINE (CONT’D)
Listen. Go home now. Go along the
beach. Make it visible. Make sure
someone sees you when you get back.
Say you couldn’t sleep and went for
a night-time stroll. When Roper
gets back, stop the cold shoulder
treatment. Be nice to him. Make him
happy. OK?
He opens the door. She stares at him then leaves slamming the
door in the night.
6 EXT. MADRID. RESTAURANT. DAY. 6
JUAN APOSTOL is entering his favourite restaurant.
APOSTOL (IN SPANISH)

Nicolas, the usual table please.
WAITER (IN SPANISH)

Certainly Mr Apostol.
APOSTOL (IN SPANISH)

Is Mercedes here?
WAITER (IN SPANISH)

No sir. She had to leave. But your
other guest is here.
APOSTOL stares at him in surprise.

7 INT. MADRID. RESTAURANT. DAY. 7
APOSTOL approaches to find ANGELA BURR sitting at his table.
APOSTOL
What do you want?
BURR smiles.
BURR
Your girlfriend tells me you’re
taking her to Istanbul. Very
romantic.
APOSTOL
Listen, I did what you asked.
BURR
How’s the sleeping?
APOSTOL
Still bad. I don’t think you’re
such a good confessor after all.
BURR
Well - one good deed at a time.
Isn’t that what the good Lord said?
She takes out the printouts of Pine’s photographs from

Roper’s office. Hands them to APOSTOL across the table. Who
stares at them with evident ill-ease.
APOSTOL
Where did you get this?
BURR
Lucky dip.
APOSTOL
Don’t bull-shit me. Who got you
these? Someone on the inside?
Smart man. BURR senses it. And is on him like a flash. But
gently. Gently...
BURR
Please don’t make trouble with me
Juan. I much prefer being your
friend. (beat) Now look here. I
have code names and numbers. I have
pages that cross-refer. What I
don’t have is someone who can join
the dots. And tell me what the hell
is going on.
She stares at APOSTOL with a mischievous smile.

8-9 OMITTED 8-9
10 INT. LONDON. BLACK TAXI. DAY. 10
The grey city of London. ANGELA BURR sits alone, her black
briefcase tucked tight between her knees. She stares at it. A
strange excitement inside her.
11 INT. LONDON. IEA OFFICES. DAY. 11
ANGELA BURR walks in to the old office. SINGHAL is there to

greet her. BURR hangs up her coat, surveys the old room. A
moment alone, her little empire.
SINGHAL
Welcome home. Is that a tan I see?
BURR
No it’s bloody not.
SINGHAL
You been home?
BURR
Came straight from the airport.
SINGHAL
Shame. Mr Burr would’ve been
excited to see you.
BURR
Oh give over. Close the door.
She gets out the briefcase.
She signals SINGHAL to turn on the radio which he does. She

takes from her briefcase the envelope containing Pine’s
photographs of Roper’s accounts. She opens them. Stares at a
series of annotations made by APOSTOL.
She stares at them. SINGHAL joins her.
BURR (CONT’D)
Investors in Tradepass. Translated
by the Spaniard. Names on the left.
Numbers on the right.
They look at the total figure. Three hundred million. She

follows the numbers.
BURR (CONT’D)
Roper buys weapons at 300 million
dollars, cash-flowed by investors
who know nothing about what they’re
trading in. Or don’t want to know.
(MORE)
BURR (CONT’D)
The investors are guaranteed 20%
profit in twelve months. So Roper
pays back 360 million at the end of
the deal. But look what he’s
selling at.
STEADMAN looks down: Sees the number: ESP - 600 million

dollars.
SINGHAL
What’s that?
BURR
Estimated sale price. His dad was
an auctioneer.
SINGHAL
That’s a profit of 240 million.
BURR
Not bad for a year’s work.
They stare at each other.
BURR (CONT’D)
Now look at this. Consultation
fees.
In the expenses column there’s an expense marked:

Consultation Fees. Halo and Felix. 5 million dollars.
SINGHAL
Who are Halo and Felix?
The office phone rings like an explosion. SINGHAL answers.
SINGHAL (CONT’D)
Singhal. IEA.
Looks surprised.
SINGHAL (CONT’D)
Yes of course. (holds out the
phone) It’s Mayhew. I think he’s on
the warpath.
12 INT. MAYHEW’S OFFICE. FCO. LONDON. DAY. 12
BURR and MAYHEW alone. MAYHEW is on his feet, furious, but

speaks in hushed tones as if the very walls are his enemy.
MAYHEW
An unmarked van forcing me off
Swiss Cottage Road. Is that what
it’s come to? This is London for
Christ’s sake!
BURR
They were trying to scare you
that’s all.
MAYHEW
Well they picked the wrong man.
They’re going to get a Whitehall
knife-fight like they’ve never
seen. Your budget is tripled, don’t
ask me where I got it from, best
you don’t know. How many more
people do you want?
BURR
I need sigint, intelligence
gathering and analysis. Six
minimum. People I can trust.
MAYHEW
You choose them. You choose
everything. Get Steadman back here,
tell him we’re joining forces. Get
a new office. Have it swept, new
company. New kit. Everything.
BURR
Rex sit down. I have something to
show you.
BURR hands him the same annotated sheets. MAYHEW stares in

pure shock.
MAYHEW
Where did you get this?
He is utterly pale.
BURR
Rex. Who are Halo and Felix?
Beat.
MAYHEW
I don’t know.
BURR
But you could guess. Couldn’t you?
13 EXT. MALLORCA. ROPER’S VILLA. OFFICE/LIVING SPACE. DAY. 13
ROPER is getting out of the car. LANGBOURNE with him.

Something about ROPER means business. PINE escorting him to
the house. CORKORAN watching it all from the porch.
PINE
How was Geneva?
ROPER
Two days of meetings with Swiss
bankers. Not exactly Babylonian.
How’s the girl? Better mood I hope.
PINE
Yes I think so.
ROPER nods. An uneasy pause. Interrupted by JED.
JED
Hello darling. Did you miss me?
JED approaches, ROPER grabs her and kisses her deeply. She
responds, great actress, all for PINE. PINE watches.
ROPER
Well that’s more like it. What
happened to you?
JED
I just came to my senses. That’s
all.
ROPER
About time.
CORKORAN approaches.
CORKORAN
Good trip?
ROPER ignores, cold.
ROPER
Fine.
CORKORAN
Is that all I get?
ROPER blanks him, turns to PINE.
ROPER
Andrew. Get a bag packed. You won’t
need much. My office. One hour.
All right?
JED
Where are you going?
ROPER
Taking you for a farewell jolly my
love. And then Andrew and I have
business to attend to.
JED risks a look to PINE. Whose side are you on? But PINE is
a blank canvas.
Roper smiles. Takes JED by the arm, walks away with her,
blanking CORKORAN as he goes. CORKY sidles up to PINE.
CORKORAN
So you’re joining up. Send the kid
back to mummy and off to work you
go.
He whistles like the seven dwarves.
PINE
Where am I going?
CORKORAN
I’ll tell you where. You’re going
IN MY PLACE.
He smiles at him.
CORKORAN (CONT’D)
Thanks to some very classy footwork
by some queens unfriendly to the
cause.
PINE
Corky what the hell are you talking
about?
CORKORAN eyes him like a dagger. JED comes out the house,
upset because DANNY is. Hugging him.
CORKORAN
You see, the chief, though he’ll
deny it, is an incurable romantic.
Believes in the light at the end of
the pier. Along with the sodding
moth. Whereas Corky here, is a
sceptic. Dyed in the wool. And my
professional and personal view is,
you are poison.
He smiles. Talks almost in a baby voice.
CORKORAN (CONT’D)
But you saved his little boy’s
life. So you’re Mr Untouchable...
He tickles PINE’s chin. PINE moves his hand away.
PINE
I think one is becoming a tad
deranged Corky.
But now CORKY becomes anything but deranged. He stares across

at JED who is still hugging DANNY, getting him ready to
leave.
CORKORAN
And then of course there’s the case
of the night-time naughties while
Roper was away. Barefoot she walks
along the beach, to the old cottage
where the hero awaits. If that
isn’t an airport novel waiting to
be written.
PINE
She came for advice. That’s all.
CORKORAN
Oh you’re too much.
And then like a flash CORKY suddenly gets close, right in on

PINE’s face. JED is helping DANNY into the car.
CORKORAN (CONT’D)
You know what he’d do to her if he
found out? The GBH that would be
inflicted on that beautiful sweet
face? Even Dr Shimon, Mr plastic
fantastic, wouldn’t stand a chance
of putting that back together.
That’s the fire you’re playing
with! Or don’t you care? Hmmn?
PINE
Of course I care.
CORKORAN
Then read my lips. Don’t ever go
near that girl again.
14-16 OMITTED 14-16
17 INT. MALLORCA. ROPER’S OFFICE COMPOUND. DAY. 17
PINE enters the office compound. ROPER is there with a

retinue of tailors, jewellers. LANGBOURNE, FRISKY, TABBY also
there.
And JED. She is sitting on the sofa, trying not to look at

PINE.
ROPER
Right let’s get going.
PINE
What are we doing?
ROPER
We’re creating Andrew Birch.
PINE stares at JED.

18 INT. ROPER’S OFFICE COMPOUND. DAY. 18
PINE is being measured in a stunning cream suit.
ROPER
Yes that will do. Two of those and
one in dark blue, plus the one in
the stripe. Your people can do this
for tomorrow morning? Mr Birch has
to fly out at ten.
TAILOR
Of course Mr Roper.
PINE is trying on cuff-links.
PINE is buying a stunning new Swiss watch.
PINE is trying various attache cases.
PINE is getting a mobile phone.
PINE is getting a platinum credit card. Name of Andrew Birch.

Tradepass Ltd.
PINE is having a hair cut. Clean and tidy.
ROPER watches this all happen with the eye of a sculptor

finishing his latest creation.
PINE, the piece of art, stares at himself in the mirror.
He’s perfect.
And JED is staring at him from the sofa. Fear in her eyes.
18a-18b OMITTED 18a-18b
19 OMITTED 19
20 EXT. MALLORCA. SEAFRONT RESTAURANT. DAY. 20
Luxury restaurant on the waterfront. PINE, ROPER and

LANGBOURNE. JED and CORKORAN already at the table. FRISKY and
TABBY in attendance. ROPER in exuberant form.
ROPER
So this is farewell to my love, who
after a night of mindless passion,
will be returning with Major
Corkoran to the villa while we
continue on our business trip with
our new friend and colleague.
He raises his glass.

ROPER (CONT’D)
To Andrew Birch.
ALL
To Andrew Birch!
PINE and JED meet. Her eyes needy. A slightest moment

together, dangerous.
CORKY smiles at PINE. Deadly.
WAITER
Sir would you like to order?
ROPER
Just get us the seafood platter.
Oysters and octopus and some of the
mixed shellfish.
JED
And I’d like a lobster salad.
WAITER
I’m afraid we have no more lobster
madam.
CORKORAN
No more lobster?
WAITER
I’m sorry sir.
CORKORAN
So you bloody should be. You see
that? That’s the sea. This is a
seafood restaurant.
ROPER
Corky, shut up.
CORKORAN retreats for now.
JED
It’s fine I’ll have the fish.
The WAITER nods. CORKORAN raises his glass.
CORKORAN
I’d like to make a toast. To the
lovers.
Beat. PINE says nothing. Then CORKORAN raises his glass to

ROPER and JED.
CORKORAN (CONT’D)
Perfect pairing. Beauty and
elegance entwined. Let no man tear
them asunder.
Almost an emotion in his voice. PINE sensing the danger.
LATER: ROPER is on his phone. CORKY is drinking. LANGBOURNE

and FRISKY in conversation. JED uses the distraction to
whisper to PINE.
JED
He’s half a bottle in already.
PINE
He knows you came to the cottage.
JED distracts to hide the tension in her face. ROPER is

checking a text on his phone.
JED
What’s wrong darling?
ROPER
Nothing. Just preoccupied.
JED
Business?
She says it innocently.
ROPER
Of course it’s bloody business.
JED
Will you miss me?
ROPER
Of course I will.
JED
Why don’t I come with you?
This is out of the comfort zone. ROPER senses it. PINE knows
it. Her real reason. Him.
ROPER
Don’t be stupid. Ah here comes our
food.
It comes. PINE watches. ROPER is definitely preoccupied.
And then suddenly it happens. CORKORAN explodes from his

chair, and grabs with incredible violence a passing waiter
who is carrying a tray... of lobster.
CORKORAN
What the hell is this?
WAITER
What you doing? Get your hands off
me!
CORKORAN
What is this? WHAT IS THIS?
ROPER
Corky sit down.
CORKORAN
I’ll tell you what it is, my little
greaseball. This is a lobster
sodding salad!
WAITER
Yes!
CORKORAN
Then why did your ugly little
friend over there tell me that my
lady here could not have a lobster
salad! WHY?
He grabs the salad.
WAITER
Sir it is for another table.
CORKORAN
No it’s bloody not.
WAITER
They pre-ordered this morning sir.
Only the lobster salad for pre-
orders!
CORKORAN
GET YOUR BLOODY HANDS OFF ME.
JED
Corky stop it!
But CORKORAN hurls the waiter into an adjoining table and

starts to beat him.
PINE stands. IN a second he has CORKORAN in a hold, and is

hurling him off the waiter and hard on to the floor. Then he
turns, unflappable. He speaks calmly to the other table. With
utter authority.
PINE
Andrew Birch, pleasure to meet you.
I’m so sorry about my friend. He
got a little intimate with the
rioja. Please feel free to re-order
and the entire evening will be
taken care. With a bottle of the
best champagne on me. I do hope
that’s all right.
GUESTS
Of course.
The GUESTS nod, utterly charmed. PINE turns to the HEAD

WAITER.
PINE
Can I take the bill please? I’ll
pay by card.
ROPER looks on admiringly. PINE turns and smiles at CORKY.

CORKY raises his glass to PINE and then to ROPER.
CORKORAN
To the victor. And to the blind man
who cannot see the human grenade in
front of his bloody eyes.
He stares at ROPER. Who takes a cursory glance then walks

away.
21 INT. LONDON. RIVER HOUSE. PALFREY’S OFFICE. DAY. 21
HARRY PALFREY sits in his office.
He is opening a brown envelope from what appears to be a

standard internal postal memo about health insurance.
Inside is a letter. Apparently procedural. He stares at it.
“Annual health check with Dr Boatman confirmed. 3pm. The Old

Clinic.”
PALFREY stares at the note. Stares out at GALT and DROMGOOLE.

(If not possible in eye-line, similar to evoke sense of his
paranoia).
22 INT. LONDON. SQUARE. DAY. 22
HARRY PALFREY enters a London square. Approaches a bench. He

sits. A WOMAN sits next to him. Puts her newspaper down
between them. ANGELA BURR.
ANGELA BURR
Nice and prompt Harry.
And now we see ANGELA BURR is sitting on the bench. PALFREY

checks every street as he speaks.
PALFREY
What are you doing contacting me
like that? That’s a dead protocol.
ANGELA BURR
I was in a hurry. Want to see why?
PALFREY picks up the newspaper. Inside is the document of

Roper’s that PINE photographed. PALFREY stares at it. Halo.
Felix.
PALFREY
How did you get these?
BURR
Who are Halo and Felix?
PALFREY looks round, scared.
BURR (CONT’D)
It’s all right, I’m on my own.
Beat. Someone passes, they pause. Then:
BURR (CONT’D)
Richard Roper’s buying arms under
the counter from British and
American arms companies. People on
the inside are aiding and abetting.
And getting paid to do so. Five
million dollars.
PALFREY
I shouldn’t be here.
PALFREY stands.
BURR
Sit.. Down.
She puts her hand on his. Gently.
BURR (CONT’D)
Harry, listen to me. I like you.
I’ve always liked you, even when I
was at the River House. You’re a
decent man. But you’re too easily
led.
PALFREY
I didn’t want to be a part of it. I
swear.
BURR
Who’s Halo?
Beat.
PALFREY
Dromgoole.
BURR
Money to cover all River House
expenses yes? Including you?
Beat. Yes, including him.
BURR (CONT’D)
And who’s Felix?
PALFREY
Langley in London.
BURR
Barbara Vandon. What’s Dromgoole
doing for his money?
PALFREY
Falsifying MOD end-user
certificates.
BURR
Did you help him with that?
He did.
BURR (CONT’D)
Harry that’s corruption, serious
fraud and a gross abuse of
government. It’s also a long
custodial sentence and a
humiliating end to a decent career.
Is that really what you want?
Beat.
BURR (CONT’D)
Unless...
PALFREY is hooked. He stares, needy.
PALFREY
What do you want?
23 INT. MALLORCA. PALMA. HOTEL. EVENING. 23
A small, glamorous boutique hotel in Palma. ROPER and PINE

walk and talk quietly, with LANGBOURNE and JED behind. ROPER
preoccupied, a result of the phone call in the restaurant.
PINE
Everything all right?
ROPER
Yes fine. We fly tomorrow at ten.
Private jet from the airfield.
Beat. ROPER thinking on his feet.
ROPER (CONT’D)
I have to talk to Sandy. Buy her a
quick drink would you?
PINE
Of course.
ROPER
I’ll only be half an hour.
PINE smiles. ROPER pats him.
ROPER (CONT’D)
You’re a handsome man Andrew. What
would I give to look like you.
PINE not sure what to say.
ROPER (CONT’D)
Mind you. Might not have made my
millions might I?
He smiles and grabs SANDY LANGBOURNE.
ROPER (CONT’D)
Darling the old men need to talk.
Andrew here is offering to buy you
a drink on the terrace. Accept
quick, I see there might be other
takers.
He gestures around the bar to the women who are all eyeing
PINE greedily.
24 EXT. MALLORCA. PALMA. HOTEL. TERRACE. NIGHT. 24
JED and PINE are sitting as a waiter brings cocktails. JED

looks through the window at ROPER in conversation with
LANGBOURNE in the bar.
JED
You think Corky told him?
PINE
No I don’t think so. He likes you
too much.
JED
What is it you’re after Andrew? You
after his money? Or is there
something else going on?
PINE
I don’t think I can tell you that.
JED
You don’t trust me?
PINE
I don’t want to get you hurt.
Beat.
JED
Roper’s got a crush on you. You
know that?
PINE
Maybe.
JED
Oh he does. He’s taken a real
shine.
PINE stares at ROPER. He knows it’s true.
JED (CONT’D)
So my question is - are you trying
to sleep with me just to get close
to him?
He stares at her. She returns his gaze. Desire fills them

both.
PINE
What if I was?
JED
Heat rising between them.
JED (CONT’D)
This trip you’re taking. When will
you be back?
PINE
I’m not sure I’ll be back at all.
This hits her like a bullet. She stares at him.
JED
How long are they talking for?
PINE
He said half an hour.
JED
Follow me.
She stands.
PINE
What if he sees us?
JED
I’m feeling faint. You’re helping
the damsel in distress.
She walks out of the terrace.

25 INT. MALLORCA. PALMA. HOTEL. CORRIDOR. NIGHT. 25
She is walking fast down the corridor. He is with her.
JED
Which one is yours?
PINE
This one.
JED
Open it.
He gets the room key, opens up. She pushes him inside.
26 INT. MALLORCA. PALMA. HOTEL. PINE’S ROOM. NIGHT. 26
Inside and already she is grabbing him, pure lust, they are
pulling clothes off, kissing, grabbing.
JED
Don’t tear anything. I have to put
it back on. And don’t use the bed.
He might see you to your door.
She is naked now. She is kissing his stomach. He pulls her to

him.
They begin to make love.
She gasps in audible pleasure. Her eyes bore into his.
27 EXT. MALLORCA. PALMA. HOTEL. TERRACE. NIGHT. 27
ROPER and LANGBOURNE sit in a corner.
LANGBOURNE
What’s the problem Richard?
ROPER
I got a call from the River.
They’re worried about a man called
Mayhew. Think he might be up to
something. Call the Haven, tell
them we’re moving it forward.
Beat.
ROPER (CONT’D)
What do you think of our new front
man?
LANGBOURNE
I like him. Drinks less than Corky.
ROPER
He doesn’t drink at all.
LANGBOURNE stares at ROPER who broods quietly.
Then JED and PINE, both impeccably dressed, walk on to the

terrace. Not a hair out of place.
ROPER (CONT’D)
Thought you’d eloped.
JED
I got a headache. My gallant found
me a Nurofen.
ROPER
Well I want to go to bed. After
all, I’m not going to see you for a
while.
He kisses her. PINE watches, not a glimmer.
ROPER (CONT’D)
Good night then Andrew. See you in
the morning.
JED
I won’t wake to see you off Andrew.
Best of luck.
She smiles at him. Impeccably.
Then ROPER takes her by the arm and leads her to his bed for
the night of farewell.
PINE watches them go.
28 INT. LONDON. LIBRARY. DAY. 28
STEADMAN walks into a library.
He walks to a section of reference books, walks to Aisle J.

Looks for section 126.
Reaches between two books and pulls out an envelope.
And walks away.
29 INT. LONDON. THE NEW IEA OFFICES. DAY. 29
The Mayhew-funded new IEA offices are up and running.

Computers, large screens, satellite tracking. Hi-tech.
Nothing like the grubby old IEA. Six or seven new OFFICERS
including GRACE and GARDENER are in a Group meeting.
STEADMAN leads it, others including SINGHAL, report. STEADMAN

takes out the envelope that he just found. There are seven
export certificates. Different names. It’s the gold they have
been looking for.
STEADMAN
Ok we are looking at seven arms
sales, all in the last month. MOD
end-user certificates, fast-tracked
by the River. DRE, Gardener-Fisher,
Lessing Logistical, RZH Aviation,
Severance, Blue Oregon, and
Pureweather. You can see on the
certificates it says the end-users
are the governments of Bulgaria and
Italy. We now know that not to be
the case. They’re being exported
via a company called Farrago
Holdings. Export license granted,
they can ship any time.
IEA OFFICER GARDENER

How did you get these?
BURR
A boatman gave them to me.
She smiles.
STEADMAN
All right so the toys are in
transit. The question is - where
are they really going? And how the
hell are they getting there? Rob?
SINGHAL
We’re focusing on three ships.
He shows pictures.
SINGHAL (CONT’D)
The Nemesis. The Marquis. And the
Leila Jane. Two came out of London
via Amsterdam and one out of
Liverpool via Marseilles.
BURR
Why these three?
SINGHAL
All three are registered in Cyprus.
To Farrago Holdings.
He has the ship’s registrations.
BURR
Let me see that.
SINGHAL
Farrago is a front company, it’s
impossible to trace the directors,
all searches lead nowhere.
Beat. BURR stares at the registrations.
BURR
What’s the official cargo?
SINGHAL
Cereal crops and farm machinery.
All three ships have already gone
off their bearings in the Atlantic
Ocean. I’d say two are smokescreens
and one’s the real thing.
BURR
What about Roper? Grace?
GRACE
He’s in Palma. A private-jet left
Palma this morning. The plane is
registered to Tradepass Holdings.
Director is one Andrew Birch.
BURR
Birch? Who’s he?
GRACE
We’ve run searches on him,
nothing’s come back.
BURR
Who’s on the plane?
GRACE
Birch, Langbourne and Richard
Roper.
BURR
Where’s it going?
GRACE
Istanbul.
BURR stops at that. A flicker of thought. Turns to STEADMAN.
BURR
That’s where Apo’s going. Let’s
split units. Rob, you get to
Istanbul now. Take Pearl and a team
with you.
SINGHAL
What am I looking for?
BURR
A familiar face. I have a feeling
that Andrew Birch might be someone
closer than we think.
30 INT. MID FLIGHT. PRIVATE JET. DAY. 30
ROPER sits back, sipping champagne. LANGBOURNE is there

snoozing. PINE, dressed in a fabulous new suit, as ANDREW
BIRCH, new haircut, new life, sits drinking a juice. FRISKY
and TABBY are there as ever. A FLIGHT ATTENDANT approaches.
FLIGHT ATTENDANT
Sir we’ll be approaching Istanbul
in around ten minutes.
ROPER nods. Stares at PINE.
ROPER
Ready to shine?
He smiles.
31 INT. LONDON. FOREIGN OFFICE. CORRIDOR. DAY. 31
REX MAYHEW is walking the FCO corridors of power, heading to

a meeting for which he may be slightly late.
32 INT. LONDON. PERMANENT SECRETARY’S OFFICE. DAY. 32
The PERMANENT SECRETARY is in her office. MAYHEW enters.

There is a stiff-lipped hostility in MAYHEW, a man wronged.
PERMANENT SECRETARY
Rex how are you?
REX MAYHEW
Very well thank you.
PERMANENT SECRETARY
You want a drink?
REX MAYHEW
I’m fine.
PERMANENT SECRETARY
I just wanted to check you were all
right. You don’t seem quite
yourself.
REX MAYHEW
Really?
PERMANENT SECRETARY
Listen, if it’s about this whole
Limpet business with the River and
Langley. I’m sorry if I upset you.
MAYHEW smiles.
REX MAYHEW
Not at all.
PERMANENT SECRETARY
This woman Angela Burr from the
IEA. You know her personally?
REX MAYHEW
A little, yes.
PERMANENT SECRETARY
You know what she’s up to?
REX MAYHEW
Aside from the fact that she’s
working on Limpet, not really.
Micro-management isn’t my style.
PERMANENT SECRETARY
She’s been ruffling an awful lot of
feathers. I was just wondering if
one way to appease the River Boys
was to appoint a new head of the
IEA, still under your jurisdiction.
I have some suitable candidates.
She shows some papers on his desk.
REX MAYHEW
Are you serious?
PERMANENT SECRETARY
I’m just trying to keep everyone
happy.
REX MAYHEW
Angela Burr is closer than anyone’s
ever been to cracking Richard
Roper’s off-shore operation.
PERMANENT SECRETARY
You really believe that?
REX MAYHEW
I know it. I’ve seen it with my own
eyes.
Beat.
PERMANENT SECRETARY
What do you mean?
Beat.
PERMANENT SECRETARY (CONT’D)

Is there something you’re not
telling me?
Beat.
REX MAYHEW
Pamela. If I show you this, it has
to be for your eyes only. This is
operational material and there are
lives at stake.
MAYHEW takes out the Tradepass papers. Hands them over.

Silence as the PERMANENT SECRETARY looks at the papers.
PERMANENT SECRETARY
My god.
REX MAYHEW
We know who Halo and Felix are.
She stops him from saying.
PERMANENT SECRETARY
Not in here.
Beat.
PERMANENT SECRETARY (CONT’D)

You say this is operational?
REX MAYHEW
Alive and kicking.
PERMANENT SECRETARY
All right. Keep Angela Burr where
she is.
REX MAYHEW nods. Walks out. The PERMANENT SECRETARY holds her
head in her hands. Anxiety pours through her like hot blood.
She stares at the names. Halo. Felix.
Then she picks up her phone.
33 EXT. ISTANBUL. HOTEL. DAY. 33
ROPER and PINE’s limo arrives at a five star hotel in the

heart of the European quarter of Istanbul.
ROPER and PINE, followed by LANGBOURNE and the boys jump out
and head into the hotel foyer.
34 INT. ISTANBUL. HOTEL. RECEPTION. DAY. 34
PINE and ROPER cross the foyer to the reception. PINE does
the exact job Corkoran used to do.
PINE
My name is Andrew Birch, I have
three suites booked in my name.
He hands over the credit card.
PINE (CONT’D)
We also have a the Ataturk
conference room booked for
Tradepass Holdings for tomorrow at
11am.
RECEPTION
Yes sir it will be ready for you.
He hands him keys. PINE walks over to ROPER who stands apart.
ROPER
All done?
PINE nods. ROPER turns and gets to the lift. The lift doors
close. As they do, we see that ROB SINGHAL is sitting in the
foyer calmly reading a newspaper and watching their every
move.
INT. ISTANBUL HOTEL. LIFT.
ROPER and PINE are alone in the lift. Suddenly ROPER presses
the emergency stop.
ROPER stares at him.
He opens his briefcase. Hands PINE an envelope.
PINE
What’s this?
ROPER
Why we’re here.
PINE opens it. It’s the seven arms sales certificates from
the MoD. River House authorisation.
ROPER leans in.
ROPER (CONT’D)
Not exactly tractors I know. The
ship docks tonight. Tomorrow we go
shopping. You ready?
PINE
I’m ready.
PINE quiet. Knowing he’s close now.
ROPER smiles.
ROPER
Good boy.
He leaves his hand on PINE just for a moment. Then presses

the button and the lift continues on its way.
INT. ISTANBUL. HOTEL ROOM.
PINE enters his room. It’s a huge suite, a luxury he has not
seen before. This is the world of Andrew Birch now.
A hotel BUTLER unpacks his suits that hang impeccably on the

hooks.
Champagne sits in the bucket.
The message: “Welcome to Istanbul Mr Andrew Birch: is on the

screen.
PINE stares in the mirror.
36 INT. LONDON. RIVER HOUSE. PALFREY’S OFFICE. DAWN. 36
HARRY PALFREY sits at his desk. GALT pops his head round.
GALT
Boss’s office. Now.
37 INT. LONDON. RIVER HOUSE. DROMGOOLE’S OFFICE. DAWN. 37
DROMGOOLE
Close the door.
PALFREY walks in. GALT and others are there. DROMGOOLE takes
out some papers. They are copies of the Tradepass papers.
DROMGOOLE (CONT’D)
Angela Burr has got hold of this.
GALT stares at the papers.
GALT
How the hell....?
DROMGOOLE
We suspect a Spanish involvement.
Beat.
DROMGOOLE (CONT’D)
Which means we have a problem.
PALFREY, churning inside, hides his alarm, knowing that

somehow the whole of Burr’s operation has been blown open.
45 EXT. NORTH LONDON STREET. DAY. 45
HARRY PALFREY is walking fast, pale-faced along a London

street.
46 INT. LONDON. SQUARE. DAY. 46
HARRY PALFREY enters the square. Looks around confused.

Breathes deep. Then a voice comes.
BURR
What’s wrong Harry? Why the flare?
PALFREY
Dromgoole’s got the Tradepass
papers. He knows they came from
you.
Silence. BURR’S heart is tight.
BURR
How does he think I got them?
PALFREY
He thinks the Spanish lawyer helped
you.
BURR
Is that what he said?
PALFREY nods. BURR instantly realises the import of this.

BURR calls STEADMAN who is still leading the team in the IEA
offices.
BURR (CONT’D)
Joel. Get a message to the Spanish
lawyer in Madrid. Tell him to re-
divert to London. Now.
She hangs up. PALFREY looks shattered and nervous.
PALFREY
I can’t do this Angela. I’m not
sleeping.
BURR
Shut up and listen to me. Who gave
the papers to Dromgoole? Did they
come via Galt?
PALFREY
They came straight to Dromgoole. I
got the feeling they came from
above.
BURR
From above? Is that what he said?
PALFREY nods. And BURR realises exactly what this means.
42 INT. ISTANBUL. HOTEL. PINE’S ROOM. MORNING. 42
It’s morning. A knock at the door.
PINE, nearly dressed, opens. It’s FRISKY.
FRISKY
You ready to go dream-boy?
PINE
Nearly.
FRISKY walks in. PINE is finishing dressing and not in a

hurry.
51 INT. ISTANBUL. HOTEL. DAY. 51
PINE and ROPER are walking through reception.
ROPER
Oh by the way. Apo isn’t going to
make it. Screwing his tart
somewhere probably. We have a
Turkish substitute.
PINE senses a lie. Hides his tension. Looks round. ROOK is in

the corner of the room but there’s no chance to make a
signal.
PINE
My father used to say: Lawyers are
three a penny. But they cost the
earth.
ROPER
Wise man. We don’t need Apo. We
don’t need anyone. We just need
you. And me.
52 INT. ISTANBUL. HOTEL. ATATURK MEETING ROOM. DAY. 52
In a very swanky meeting room, there are sets of papers on

the desk. Notaries from the company Farrago Holdings, and
those of Tradepass. ROPER and PINE and LANGBOURNE on one
side.
A TURKISH LAWYER on the other. A SWISS BANKER sits between

them. Unruffled, calm.
SWISS BANKER
Mr Ertun will sign as
representative of Farrago Holdings,
full jurisdiction. I will sign as
witness from the Private Members
Bank. Mr Langbourne informs me that
Mr Birch will sign for himself as
director of Tradepass Limited.
TURKISH LAWYER
Wait a moment. I have not had time
to look properly at the documents.
It is a very complicated process of
sale, the origin of the machinery
is unclear, I am not even sure when
the transfer of goods will take
place.
LANGBOURNE
I wouldn’t worry about that if I
were you.
TURKISH LAWYER
Mr Langbourne I was brought on at
late notice, I need time to study
the documents. Please ask Mr
Apostol to call me on the phone,
and explain to me the nature of the
deal, and I will be happy to
proceed.
This was not the plan. ROPER stays calm. PINE watches.
LANGBOURNE
Mr Apostol is indisposed.
ROPER nods at FRISKY. FRISKY hands the TURKISH LAWYER a

briefcase. The TURKISH LAWYER opens it. It’s full of money.
The TURKISH LAWYER looks up.
TURKISH LAWYER
Then I will wait until he can talk
to me.
He moves to get up.
And then RICHARD ROPER nods. And FRISKY quietly places his
hand on the LAWYER’s. It’s subtle but unbelievably violent.
ROPER
Mr Ertun let me explain. Tradepass
is buying farm machinery from
Farrago Holdings. You’re being VERY
well paid to ratify the deal. What
could be simpler than that?
ROPER smiles.
ROPER (CONT’D)
We were told you were the right man
for the job. Were we misled?
FRISKY’s hand. The sense of terror. PINE looks on. The

TURKISH LAWYER shakes his head.
ROPER (CONT’D)
Well then let’s get this signed. Mr
Birch is a busy man.
PINE stares at ROPER who nods at him. PINE walks forward,

makes the signature where shown. LANGBOURNE shows him.
SWISS BANKER
Here, here and here. This is just
the bank authorisation for our
records in Geneva. And one more
thing.
He produces a digital recording device. Holds it out.
SWISS BANKER (CONT’D)

To authorise the transfer of funds
from the Tradepass account, Mr
Birch will need to give an auditory
signature on proof of purchase
tonight. To set that up I need you
to read something for me.
PINE walks forward.
SWISS BANKER (CONT’D)

Please read this.
PINE reads. The SWISS BANKER records.
PINE
This is your friend George speaking
to you. Thank you for staying awake
tonight.
SWISS BANKER
You want to do it again. More
relaxed maybe?
PINE
No that’s fine. May I see a current
bank statement?
Beat. The SWISS BANKER looks across nervously.
ROPER
It’s his company.
The SWISS BANKER goes on his laptop and brings up the

statement.
PINE stares at it. The company currently has a bank credit of

three hundred million dollars.
PINE
Thank you very much.
He smiles.
47 INT. LONDON. FCO. MAYHEW’S OFFICE. DAY. 47
BURR is standing opposite MAYHEW who is pale with shock. Both

deadly quiet. Extreme danger.
MAYHEW
Are you sure it was her?
BURR
Who else could it have been?
I said no one Rex. I said not a
bloody soul must see those papers.
MAYHEW
I was defending you. She was going
to get rid of you.
Beat. BURR nods. A shared dismay fills the room.
MAYHEW (CONT’D)
What happens now?
BURR
I’m getting Apo out of there quick-
time, I’ll fly him somewhere safe,
new ID, new life, I’ll put it all
on him, protect Pine, make Apo seem
like the only mole in the
operation. We might just be OK.
BURR’s mind whizzing now. But now her phone rings. It’s
STEADMAN.
BURR (CONT’D)
Joel? What is it?
48 INT. NEW IEA OFFICES. LONDON. DAY. 48
STEADMAN
The Spanish lawyer booked a flight
to Istanbul but never took it. His
cell’s not answering. And his
office in Madrid has no idea where
he is.
49 INT. LONDON. FCO. MAYHEW’S OFFICE. DAY. 49
BURR’s face goes pale. MAYHEW watches.
STEADMAN
I’m going to Madrid now.
BURR
Call me when you get there.
BURR hangs up. Stares at MAYHEW.
53 EXT. ISTANBUL. HARBOURSIDE. NIGHT. 53
Now we are in a very different part of town. Down by the

docks. Dark, rough, poor. The Bosphorus spreading out before
them.
Two cars drive down through warehouses, past old ships, new
ships, rotten carcasses of ships and cranes.
54 INT. ISTANBUL. HARBOURSIDE. ROPER’S CAR. NIGHT. 54
FRISKY drives one. PINE and ROPER there. Behind them in

another car - TABBY and LANGBOURNE.
PINE watches as the car turns a corner and slows.
There are six men at the gate, dark shadows, threatening.
FRISKY pulls up, unwinds the window.
FRISKY
Andrew Birch’s party. Here to see
the farm machinery.
He hands them passports. PINE’s. The man checks the face,

then shines a torch in PINE’s eyes.
The MAN nods, waves them through.
ROPER flicks a calm look to PINE as the car moves on and

approaches the water.
ROPER
Ok let’s go.
55 EXT. ISTANBUL. HARBOURSIDE. LEILA JANE. NIGHT. 55
They get out of the car.
A small ship stands before them. Old. The Leila Jane.
PINE stares at it.
FRISKY
Single file. Hands clear and
visible.
They walks slowly towards the ship.
In front of them are three men. All young. They look Eastern
European. They are in fact Latvian. He also sees that two of
them have guns. Hecklers. The LEADER approaches.
LATVIAN LEADER
Mr Langbourne, welcome.
LANGBOURNE
Long trip at sea?
LATVIAN LEADER
Yes of course. We got a little lost
in the ocean.
He laughs. Then stops.
LATVIAN LEADER (CONT’D)

But we got here in the end. Who is
Mr Birch?
PINE nods, walks forward.
PINE
That’s me.
LATVIAN LEADER
You are a great enthusiast for
tractors and agricultural material?
He smiles. Good English.
PINE
That’s correct.
LATVIAN LEADER
You want to feed the world? Like
Bono?
LANGBOURNE
Let’s just get on with it shall we?
The LATVIAN LEADER smiles and gestures them on to the ship.

LATVIAN LEADER
This way.
PINE walks past and on to the ship. He sees on the lashing

straps a medley of transfer points the boat has passed
through. Amsterdam, Lisbon, Oran. Naples.
56 INT. ISTANBUL. HOLD, LEILA JANE. NIGHT. 56
PINE stands in the huge belly of the ship - the hold - full
of containers large and small.
One container is opened. ROPER and PINE look. It is stacked

full of guns. AMG’s. State of the art weaponry. All with
British MOD certificates.
PINE watches.
ROPER
Likee?
PINE nods.
ROPER (CONT’D)
Frisky check the others, make sure
they’re all bona fide.
He smiles at PINE as FRISKY disappears into the darkness.
ROPER (CONT’D)
Signing time.
He smiles. PINE is led over. On a clipboard LANGBOURNE has a

signed receipt for turbines, tractor parts and heavy
machinery. Certified to be in good order by Andrew Birch,
Director of Tradepass Ltd.
PINE reads. He signs the receipt and initials the schedule.
Then LANGBOURNE passes him a satellite phone.
FRISKY holds up the number.
PINE reads and dials.
A voice on the other end. The SWISS BANKER.
57 INT. ISTANBUL. TURKISH LAWYER’S OFFICE. NIGHT. 57
SWISS BANKER and ERTUN await in the office.
SWISS BANKER
Who is it?
58 INT. ISTANBUL. HOLD, LEILA JANE. NIGHT. 58
PINE
This is your friend George speaking
to you. Thank you for staying awake
tonight.
SWISS BANKER
The purchase has been authorised.
Please put Jan on the line.
PINE holds out the phone to the LATVIAN LEADER.
PINE
You are Jan?
The LATVIAN LEADER nods and takes the phone. He waits.
And then he smiles at PINE.
JAN
It’s all yours my friend.
ROPER
Good. Get the trucks. Let’s get
this stuff on shore.
59 EXT. ISTANBUL. HARBOURSIDE. LEILA JANE. NIGHT 59
ROPER and PINE watch from their car as the trucks move out of
the boat.
60 INT. ISTANBUL. HARBOURSIDE. ROPER’S CAR. NIGHT. 60
ROPER whispers in PINE’s ear as they sit alone in the car

surrounded by darkness. There is a strange intimacy to this
moment. Almost like lovers on a late-night tryst.
ROPER
For 24 hours you own enough
weaponry to start a major war all
on your own. What does that feel
like?
PINE
Feels good.
ROPER
Getting a taste for it Andrew?
He smiles. The trucks continue to pile off the boat in the

distance.
PINE
Where are they going?
ROPER
To the Haven. We’ll fly out there
tomorrow. The buyer will meet us
there.
He leans in and whispers.
ROPER (CONT’D)
You see this is where the fun
really begins.
He smiles. PINE’s eyes shine in the night.
ROPER (CONT’D)
I had my doubts about you, you know
that.
PINE
I don’t blame you.
ROPER
Corkoran’s jealousy is infectious.
Hard to shift. Of course really
Corky’s jealousy is lust. What he
would give for a night with you.
He smiles. Beat.
ROPER (CONT’D)
What about you? What’s your tipple?
Men? Women? Young? Old? We can get
you anything here.
PINE
I’m fine thanks.
ROPER
Not sure I trust a man who can’t
let his hair down.
PINE
You’ll have to trust this one.
ROPER
But you like it being here don’t
you?
PINE
Very much.
ROPER
Feel more at home here than you did
in the army.
PINE
I feel more at home here than
anywhere in my life.
He stares at ROPER. And my god, it might well be true.
61 INT. ISTANBUL. HOTEL. PINE’S BEDROOM. NIGHT. 61
PINE enters his Istanbul hotel room. Breathes deep.
Stares at himself in the mirror. Himself as ANDREW BIRCH.

Does he like a little too much what he sees in front of him?
Then the hotel phone rings.
He picks up.
PINE
Andrew Birch. Who is this?
Pause on the line. Then a voice. Female. JED.
62 INT. MALLORCA. ROPER’S VILLA. BEDROOM. NIGHT 62
JED
Jonathan.
63 INT. ISTANBUL. HOTEL. PINE’S ROOM. NIGHT. 63
He can hear her breathing. She is in her bedroom in the Roper

apartments on the peninsular.
PINE
Get off the line.
He should hang up. But he can’t. He can’t quite put the phone
down.
JED
Don’t go Jonathan. I need you. I
just need to know you’re there.
Jonathan?
He breathes deep. Then hangs up. The phone rings again. He

does not answer.
It rings and rings and rings.
64 INT. LONDON. NEW IEA OFFICES. NIGHT. 64
BURR is sitting by a phone. Her new OFFICER, GRACE sits with

her.
GRACE
Don’t you get tired?
A beat. BURR returns from wherever she was in her head.

BURR
Tired?
GRACE
How many weeks are you?
BURR
Uh... twenty-something. Twenty six.
I think.
GRACE
You should go home. I’ll call you
when Steadman reaches Madrid.
BURR
No, I’d rather be here. Thank you.
GRACE
Doesn’t your husband mind?
BURR
Mind what?
GRACE
Your always being here. I know mine
would.
BURR
He knows why I do this. He knows
about the school sports day.
GRACE, curious. Sports day?
BURR (CONT'D)
He shouldn’t - Mr Burr is not
cleared for anything besides
cooking risotto and taking out the
rubbish - but I had to tell him
about the sports day.
BURR sees her confusion. A long beat as she braces herself

for the re-telling. It comes out slowly, almost dreamily.
BURR (CONT’D)
I was in Baghdad. 2003. Must have
been about your age. I was attached
to the United Nations Monitoring,
Verification and Inspection
Commission. Catchy title. We got
these reports of an incident near
Rayat, up by the Iranian border.
Kurdistan. Satellites couldn’t make
anything of it. The Head of Station
sent me... Actually, that’s not
quite true, I volunteered. Gordon
was bloody furious when I told him.
But, you know, what’s the point
otherwise?
She drifts to a stop. GRACE fidgets, bringing BURR back.
BURR (CONT’D)
When we got there, it was a school
sports day. Or it had been.
Running races, long jump, picnics.
Must have been a lovely day. Until
somebody dropped two gas shells
over the sports field, one
containing sulfur mustard, one with
Methylphosphonofluoridate. Either
of you know your organic chemistry?
GRACE, pale as a ghost.
GRACE
Sarin.
BURR
The idea of the mixture is to stop
people getting masks on, you see.
You mustard gas burned the
children’s hands and face, melted
the skin. Which allowed the Sarin
to attack the breathing muscles.
Lot of the kids had lung tissue
around their mouths, on their
faces.
(long beat)
And that’s when I first saw Richard
Roper in the flesh.
She’s almost smiling now. This is very weird.
GRACE
Roper... had supplied the gas?
BURR
Oh no. Roper had nothing to do
with it. Sorry, I thought...
That’s the whole point.
GRACE is flummoxed.
BURR (CONT’D)
Roper started selling Sarin after
the sports day. Because of it. He
saw what I saw - one hundred and
twelve children, fifty-eight adults
- and he thought to himself:
business.
(beat)
That’s the Roper.
She pauses. Gulp in the throat.

BURR (CONT’D)
So Mr Burr knows, I’m married to
him, and I’ll have his child. But
he also knows I have to be here.
Beat. The phone rings. Startles GRACE, who then jumps up to

answer it.
GRACE
It’s SINGHAL on line 3. There’s
a problem in Istanbul.
65 OMITTED 65
66 INT. ISTANBUL. HOTEL. PINE’S ROOM. DAWN 66
PINE wakes from a deep and horrible sleep, face sweating.
The ringing is continuing. His hotel phone is ringing.
He turns, sees the time. 6 am. He picks it up.
VOICE (ON PHONE)

Your newspaper’s outside your door
sir.
The phone rings off. PINE gets up, opens the door. There is
indeed a newspaper outside the room. And written in pen on
the corner of the newspaper is “Room 605”.
But PINE’s room is very clearly 421.
67 INT. ISTANBUL. HOTEL. CORRIDOR. DAWN. 67
PINE walks out of the hotel room into the corridor in hastily
assembled clothes. It’s barely light. The hotel sleeps still,
just the odd MAID vacuuming the corridors.
PINE walks to the lift.
68 INT. ISTANBUL. HOTEL. LIFT. DAWN. 68
PINE enters the lift and presses 6.
69 INT. ISTANBUL. HOTEL. 6TH FLOOR CORRIDOR. DAWN. 69
PINE walks out the lift and walks along the corridor. He
reaches Room 605.
He knocks.
The door opens. It is SINGHAL.
70 INT. ISTANBUL. HOTEL. SINGHAL’S ROOM. DAWN. 70
PINE walks in to see PEARL, SINGHAL and GARDENER in the room.
SINGHAL
What the hell are you playing at?
PINE
What are you talking about?
SINGHAL nods. GARDENER walks to a laptop. Clicks the mouse.
A voice plays on a recording. Female. JED.
JED (ON LAPTOP)

Jonathan.
PINE (ON LAPTOP)

Get off the line.
JED (ON LAPTOP)

Don’t go Jonathan. I need you. I
just need to know you’re there.
Jonathan. Jonathan?
Then her breathing, his breathing.
The OPERATIVE presses stop.
SINGHAL
Well?
PINE
Well what?
SINGHAL
Are you conducting a relationship
with that girl?
PINE
What business is that of yours?
SINGHAL
Oh dear God.
He walks to a phone. Picks up.
SINGHAL (CONT’D)
Yes he’s here. Yes it’s what we
thought.
Hands it to PINE.
It’s BURR in the IEA offices in London.

BURR
Now you listen to me Jonathan. This
is what you’re going to do. You’re
going to return to your room,
collect your passport and money,
nothing else, you hear me? Then you
walk downstairs, meet Rob and Pearl
in the foyer and they’ll put you in
a taxi which will take you to the
airport.
PINE
Why would I do that?
BURR
We’re pulling you out. You’ve blown
it.
PINE
I don’t think so.
BURR
His girlfriend calls from Roper’s
house phone in the middle of the
night and you think you’re safe?
PINE
If I leave now you have nothing.
BURR
I have you no longer screwing up my
operation that’s what I have.
PINE
Without me you don’t have an
operation. The arms were taken off
a boat called the Leila Jane in
Istanbul harbour late last night.
They’re being taken by road to a
place called the Haven. If I stay
on the inside I can take you to the
arms, and deliver you Roper and
whoever’s buying them - caught in
the act. But without me you have
nothing. You don’t have Roper in
possession of weaponry, you can’t
arrest him for corporate fraud, his
name’s not connected to Tradepass.
You’ve got no phone taps, no
witnesses. His deal will go ahead
and you’ll be powerless to stop it.
Beat.
PINE (CONT’D)
Am I wrong?
BURR
Just leave. That’s an order.
PINE stares at SINGHAL and PEARL.
SINGHAL
Foyer. Five minutes.
He walks out, furious. PEARL eyes JONATHAN.
71 INT. ISTANBUL. HOTEL. CORRIDOR. MORNING. 71
PINE walks along the corridor. He has reached his room.
Goes to open the door.
Pauses.
Then suddenly he turns and walks fast down the corridor to

another room. Knocks. Waits.
TABBY answers.
TABBY
What the hell do you want?
PINE
Need to speak to the chief. Now.
TABBY
He’s asleep.
PINE
Then get him up.
72 INT. ISTANBUL. HOTEL. ROPER’S ROOM. MORNING. 72
ROPER, sleepy, in a dressing gown.
ROPER
This better be important.
PINE
We’re being watched.
ROPER
What are you talking about?
PINE
British man and woman in the foyer.
He’s mid-fifties, glasses, she’s
forties, they’re English and I’d
lay good money they’re law
enforcement.
ROPER
How come you’re so sure?
PINE
I’ve developed a nose for them.
ROPER’s eyes focus.
ROPER
Are they still there now?
PINE
It felt to me like they were
waiting for backup.
ROPER
Tabby check them out.
TABBY walks out. PINE stares at ROPER.
ROPER (CONT’D)
What were you doing up so early?
PINE
Couldn’t sleep. Thought I’d take a
walk in the old city.
ROPER
Why couldn’t you sleep?
PINE
It’s not uncommon with me.
ROPER
That’s something you’re going to
have to learn. You take the
pressure in the daytime, but when
the heads hits the pillow,
oblivion. Or you’ll never last. Not
in this game.
The phone rings. He answers.
ROPER (CONT’D)
Yes?
73 INT. ISTANBUL. HOTEL. RECEPTION. MORNING. 73
TABBY is in the foyer, staring at the waiting SINGHAL and

PEARL.
TABBY
They’re spooks all right.
TABBY takes photos with a digital camera.

74 INT. ISTANBUL. HOTEL. ROPER’S ROOM. MORNING. 74
ROPER
All right. Full evacuation. Back
entrances. Ten minutes, I want us
all on the road.
He puts the phone down.
75 INT. ISTANBUL. HOTEL. BACK. MORNING. 75
ROPER and PINE are walking fast through the back of the hotel
towards the exit. They walk out the back as a car sweeps
round to meet them.
76 EXT. ISTANBUL. HOTEL. CAR PARK. MORNING. 76
TABBY is in the car. LANGBOURNE is already walking suitcase

in hand.
LANGBOURNE
What’s all this about Dicky?
ROPER
We’ll work that out later. Let’s
go.
Then PINE turns to see the OPERATIVE GARDENER walking round

the corner and spying them.
PINE
That’s the backup.
ROPER
Get in the car.
PINE
He’s got a radio.
And PINE is instantly sprinting towards the OPERATIVE

GARDENER and taking him out with one punch. The OPERATIVE
GARDENER doubles over, PINE smashes another punch, gives one
more blow to the gut, then turns, walks fast to the waiting
car and climbs in.
The car tears out the back courtyard of the hotel, followed
by another car with FRISKY inside.
77 EXT. ISTANBUL. HOTEL. FRONT. MORNING. 77
SINGHAL is running, but too late the cars are flying into the
distance. They’ve lost him. He calls on his phone.
SINGHAL
He’s gone.
77a INT. LONDON. IEA OFFICES. DAY. 77a
In her office in London ANGELA BURR receives the message.
And contemplates the destruction of all her best-laid plans.
78 EXT. ISTANBUL. ROPER’S CAR. DAY. 78
The car tears through the city.
79 INT. ISTANBUL. ROPER’S CAR. DAY. 79
PINE stares straight ahead. ROPER at his side, eyes him with
a new appreciation.
ROPER
Frisky. Call the Haven. Satellite
phone. Tell them we’re on our way.
END

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THE NIGHT MANAGER

Based on the novel by John

For The Ink Factory

DICKY ROPER’s face is staring right at camera.

PINE’s face. Close-up. He smiles. Nods.

ROPER’s face, close up.

ROPER smiles. A door opens. ROPER swivels fast.

A coldness between them is apparent.

He stares at her defiantly.

DANIEL appears carrying a picture of some flowers. Not just

DANIEL blushes. Hands it to ROPER. Beat.

Beat. ROPER stares at him.

DANNY turns, upset, walks out of the room. JED stares at

TITLE: THE NIGHT MANAGER

2 EXT. LONDON STREETS. DAY. 2

REX MAYHEW is cycling. Rush hour, busy traffic. But he has

But it does not.

MAYHEW looks back, he can’t see who is driving.

Then the van accelerates alongside on his left.

MAYHEW continues to cycle.

Then another van comes up on his right, both vans drive at

He accelerates. They accelerate.

Only to see another van right up behind him. Grubby

The vans start to move close together. Squeezing him.

MAYHEW sees a traffic light ahead. It’s green.

He prays. Please go red. Please go red.

Then suddenly MAYHEW accelerates! Breaks the red light, is

4 INT. MALLORCA. PENINSULAR. FISHERMAN’S COTTAGE. NIGHT. 4

PINE lies back, deep in the night. Apparently sleeping.

Then his eyes open.

He lifts a floorboard, grabs a knife from underneath.

Walks quietly out and into the living room.

He opens the front door.

Walks fast to confront the figure who is in the small alley

Grabs the figure.

Then pauses in shock.

She stares at the knife in his hand.

PINE looks around. No one in the darkness.

5 INT. MALLORCA. PENINSULAR. FISHERMAN’S COTTAGE. NIGHT. 5

JED sits on a small wooden stool. PINE is boiling a kettle.

He looks out the window into the darkness.

He hands her a drink.

A challenge. PINE gives her sugar, flicks a look out the

She stares at it. Then slaps PINE hard.

She stares at the photo.

She speaks coolly. No self-pity.

Beat. She speaks quietly.

She gets up. He takes her arm hard.

They are close. Very close. Heat between them.

She moves to kiss him.

6 EXT. MADRID. RESTAURANT. DAY. 6

JUAN APOSTOL is entering his favourite restaurant.

APOSTOL (IN SPANISH)

WAITER (IN SPANISH)

APOSTOL (IN SPANISH)

WAITER (IN SPANISH)

APOSTOL stares at him in surprise.

7 INT. MADRID. RESTAURANT. DAY. 7