ELEVENTH HOUR: MAN WITHOUT A SHADOWCreated and Written
byStephen Gallagher

Draft of 10 April 2005
First scene # 200

2.

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OMITTED

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200A

EXT. COUNTRY LANE. NIGHT.

200A

Zoom! A small and shabby van bullets past us and away down along country lane.
A beat when all seems to go quiet and then...
A police traffic pursuit car rockets past in its wake, alllights flashing and the howler sounding, closing the distance
between them.
201

EXT. COUNTRY LANE. NIGHT.

201

Looking ahead, driving at speed, everything seen by theheadlight beams. Stone walls, overhanging branches, theoccasional cluster of dark buildings, but not another car or
living soul.
202

INT. SANDERS’ VAN. NIGHT.

202

The driver, Martin Sanders, grips the wheel and stares ahead
as the vehicle barrels through the night. Fear has sobered
him somewhat.
He’s gabbling miserably.
MARTIN SANDERSMy cup overflows. Surely goodness
and mercy shall follow me...
In the side mirror, the beams and flashing blue lights of the
pursuing cruiser come into sight.
He glances at the mirror.
MARTIN SANDERS
Oh, crap.
203

EXT. COUNTRY LANE. NIGHT.

203

The van rips past us and away in a dizzying whip-pan and a
deafening roar... A second or so of near-silence and then thecruiser rips through the frame in close pursuit.
204

INT. POLICE CRUISER. NIGHT.
Traffic cop Elaine driving, supercool.
Partner Mike on the radio, while checking a map.

204

3.

MIKE
(calmly into radio)
Saw us and exited the pub car parkat speed. Vehicle is now headingWest on Higher Commons Lane...
205

INT. SANDERS’ VAN. NIGHT.

205

Martin Sanders, growing visibly more desperate, glances down
at something on the passenger seat beside him.
Another check on the mirror, but the cruiser’s still there.
206

INT. POLICE CRUISER. NIGHT.

206

Mike looks up from the map.
MIKE
There’s no turnoff now until the
Cable Road.
207

EXT. HILL ABOVE TOWN. NIGHT.

207

A north-country road, high on the brow of a hill with thelights of a valley town spread out in an immense carpet
beyond.
A police city van is coming up the road, and over a radio
link we hear:
VAN DRIVER(radio)On the Cable Road now.
We pan with it as it drives by and away.
208

INT. SANDERS’ VAN. NIGHT.

208

Martin Sanders reaches for a button, and the driver’s window
opens.
Visibly upset, he glances down at something on the passenger
seat.
MARTIN SANDERS
God forgive me.
209

EXT. COUNTRY LANE (WOODLANDS). NIGHT.

209

POV from the pursuing cruiser... For a moment there’s noclear view of the car ahead, but we see a flash of somethingleaving it.

4.

210

INT. POLICE CRUISER. NIGHT.

210

Elaine’s spotted the action.
ELAINEHe threw something out of the car.
MIKE
(looking back as they pass
the spot)
Near a white gatepost.
211

EXT. T-JUNCTION (WOODLANDS). NIGHT.

211

Here comes the shabby van, hardly slowing for the turn.
At it takes the corner, the bigger Police Van is arriving at
the junction.
The Police Van brakes sharply and Sanders’ vehicle swerves toavoid a head-on collision, leaving the road and ploughing
into a ditch.
212

INT. POLICE CRUISER. NIGHT.

212

Elaine pulls in by the crashed vehicle.
She and Mike get out and move in. Others from the police vanfollow.
Sanders isn’t hurt, but he’s in tears at the wheel.
213

EXT. COUNTRY LANE (WOODLANDS). NIGHT.

213

Later. A white gatepost is briefly illuminated by slow-moving
headlight beams.
And now we see why. Mike walks at the roadside, scanning the
ground with his flashlight. He’s backlit by the beams of thecruiser, creeping along behind him at 2 or 3 mph.
Almost immediately, he spots something. He signals for thecruiser to stop, and then moves in for a closer look.
ANGLE ON THE VERGE, pushing in... on a small bundle wrapped
in medical-grade paper towel. It’s about the size of a bag ofsugar and secured by a cheap silver chain with a crucifix.
Impact has loosened the wrappings.
Mike crouches, shining his flashlight onto it from all angles
and then reaching in to lift a corner.

5.

We don’t see what’s revealed. But we see Mike’s face in thereflected glow of his flashlight beam.
MIKE
Oh.
Opening credits.
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215

EXT. WOODLAND BURIAL GROUND. DAY.

215

Big closeup of Bruno, a senior CID officer. His eyes scan ascene of disturbing awe.
The scene before Bruno -- we see that we’re in a sloping
woodland of widely-spaced trees. The ground between the trees
has been taped off into areas like an archaeological dig. The
ground is peppered with holes like tiny open graves, marked
with numbered flags.
Some have been dug out already. Others are being worked on by
forensics officers in cool-looking, properly fitted blue
Scene Suits.
DS Cook is carefully picking his way across the groundtowards Bruno, following the marked way.
At one hole, a small cardboard evidence box is being draped
in a black cloth.
DS Cook reaches Bruno.
DS COOK
Did you authorise some government
bloke to enter the evidence tent?
Bruno looks at him sharply... Clearly, he didn’t.
216

INT. EVIDENCE TENT. DAY.

216

One of the boxes stands open on a table. Professor Alan Hood,in latex gloves, has opened one and is carefully lifting asilver cross and chain out of the way while Rachel Young, his
personal protection officer, looks on. She’s holding a manila
file.
HOOD
(looking at the crucifix)
The man who buried them put one ofthese in every grave.

6.

Rachel looks into the box. She’s too professional to react.
Just about.
HOOD
It’s one thing to hear about it.
But it’s coming face to face thatreally brings it home.
She’s going to say something, then changes her mind.
HOOD
Would you rather wait outside?
RACHEL
I’ll be fine. Thank you.
The flap is thrown open and Bruno storms in.
BRUNO
What do think you’re doing?
HOOD(replacing the lid)
You don’t have to worry, inspector.
I do know how to handle a sample.
BRUNO
I don’t care! I’ve got thirty deadbabies and the last thing I need isfor my evidence to be interferedwith. Out!
Hood turns to him, stripping off his gloves.
HOOD
Strictly speaking, you’ve got
thirty dead foetuses. Can you reada DNA profile?
BRUNO
Are you from the lab?
HOOD
No. Can you?
As he’s speaking, Rachel hands him the file in exchange forthe gloves.
BRUNO
I don’t know what you mean by‘reading it’.

7.

He moves to the side of the tent and indicates for Bruno tojoin him...
Bruno, not quite sure how his momentum’s been stolen, glancesat Rachel and then complies.
From the file, Hood takes an A5-sized sheet of X-ray film
showing the familiar banded pattern of a DNA profile.
HOOD
Think of it as a personal barcode.
Each one’s different, and each
one’s unique.
He slides the top edge of the sheet under the crossbar of thetent’s frame so that it stays there, making the backlit
fabric into a makeshift light box.
HOOD
This is the profile for the twelveweek-old foetus that was thrown outof the car.
He adds another next to it.
HOOD
And this from the first one you dug
up. What do you see?
BRUNO
They’re similar.
HOOD(adding a third)
They’re not similar. They’re thesame. As are all the others. Look.
He holds up a fourth for comparison, and then starts moving
back down the row gathering them into a stack like playing
cards.
HOOD
Every one you’ve sent in for
testing so far. The same... The
same... The same.
Angle on the sheets -- in a single stack with the lines
perfectly matched up.
HOOD
What do you know about cloning?

8.

BRUNO
I’ve heard of Dolly the Sheep.
Hood turns to look back and now we see that there’s a grimrow of fifteen of the boxes, perfectly spaced along thetrestle tables, all labelled, all separate.
HOOD
What you see here is the disasteryou get when you try it withpeople.
BRUNO
Who are you?
HOOD
I’m Alan Hood.
216A

EXT. WOODLAND PARKING AREA. DAY.

216A

Rachel’s by the car, trying to make a call but frustrated by
the lack of a signal, as DS Cook approaches.
DS COOK
So. Special Branch are doing
drivers now?
RACHELI’m not his driver. I’m his
bodyguard.
DS COOK
What does he need a bodyguard for?
RACHEL
Somebody bombed his car once. If
you want to make him blush, ask him
where the shrapnel is. And
If that look means you’re about tostart taking the piss, save it foryour mates back in Trumpton.
DS COOK
Don’t knock it. If I keep my nose
clean and find enough stolen bikes,
maybe someday I’ll get given an old
bloke to look after.
Red rag to a bull.
RACHELThat ‘old bloke’ is a science
troubleshooter for the government.
(MORE)

9.
RACHEL (cont'd)
And don’t think he’s in it to makehimself popular. There’s at least
one multinational with a dirtytricks department gunning for him.

DS COOK(backing off)
Okay.
RACHELYou want to try a week on the roadwith him. You’d soon change yourtune.
DS COOK
I said okay.
RACHEL(regaining face)
I need a hotel for tonight.
DS COOK
All the road warriors come straight
off the motorway and into the
Novotel. (beat) It’s not far frommy house.
RACHELThat ought to be worth a discount.
217

EXT. WOODLAND BURIAL GROUND. DAY.

217

Bruno leads Hood along the access route taped out by Scenesof Crime Officers.
HOOD
The man you arrested. Is he a
microbiologist or a medical man?
Bruno thinks this is hilarious.
BRUNO
Hah.
HOOD
What’s so funny?
BRUNO
You haven’t seen him. He’s acaretaker. Says he’s been getting
twenty quid a time to incinerate
the bundles. Once he realised what
they were he couldn’t bring himself
to stick ’em in the fire.

10.

HOOD
Or give up the twenty quid. Who’s
been paying him?
BRUNO
He won’t say a thing now he’ssobered up. We’ll see how he feels
after Accessory to Murder.
HOOD
Technically a foetus is medical
waste. Can that still be murder?
BRUNO
All right, then. Something under
the abortion act.
HOOD
Clone foetuses abort themselves.
They nearly always go wrong.
BRUNO
Well, for God’s sake. Then you’retelling me I’m wasting my time?
HOOD
You’re not wasting your time. This
isn’t about scratching around forsomething to pin on a caretaker.
It’s bigger than that.
BRUNO
It can be as big as it likes. I
need a crime and a charge. If I
don’t have that, I move on. So what
are you telling me?
HOOD
That you’re looking at evidence ofan attempt at human cloning.
BRUNO
And I’m Flash Gordon.
HOOD
It’s the twenty-first century,
Inspector. At least make an effort
to keep up.
At one of the graves, something’s being lifted out into a
waiting box and a cross and chain dropped in after.

11.

HOOD
It’s the work of a man who’s been
trailing this kind of misery acrosshalf of Europe.
BRUNO
Fine. Give me a name.
HOOD
I don’t know his name! No-one evenknows what he looks like. When they
get close to him in one country hemoves on to another. He’ll keep on
doing more of the same until sheer
chance gives him a live birth.
BRUNO
Why?
HOOD
Fame, fortune and a place inhistory. And you’re looking at thecost. If you won’t go after him,
get out of the way and I will.
217A

EXT. WOODLAND PARKING AREA. DAY.

217A

Rachel waits alone by the car as a very dark-of-brow Hoodcomes stalking back to her. He talks on the move...
HOOD
I just about persuaded him to flag
it up with local hospitals. Thirty
babies in thirty graves... You knowwhat that says to me?
RACHELI can’t even guess.
Gets straight into the car...
HOOD
Thirty mothers. How do you keepthem quiet?
And slams the door.
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12.

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INT. SUPERMARKET. DAY.

220

Kelly Fox, 19 years old and 20+ weeks pregnant, is pushingalong a trolley with a toddler in the rumble seat, studying alist. Her pregnancy isn’t screamingly obvious and the clothes
that she’s wearing make it even less so.
She only belatedly notices that the child’s holding a packetof biscuits.
KELLY
No, Davy. Not the fancy ones.
She extracts them from his grasp and we pan with her as shegoes the few yards back down the aisle to replace them.
Then without a cut we pan back with her to the trolley, which
now has no kid in it.
KELLY
Davy? David?
With rising panic, she looks all around her...
Then moves past the trolley to the aisle junction. As sheturns the corner...
She sees, directly ahead of her a young guy with baseball cap
and trackie pants tucked into his Nike socks. He’s got Davywith him and is squatting down by the sweet shelves,
unwrapping something to put in the boy’s hands.
ROLY
There y’are. Take that from yourdad.
Kelly freezes in horror. Roly sees her and rises.
ROLY
You didn’t move but five miles. Did
you think no-one was ever going to
see you?
KELLY
You come near me again, I’m taking
you right back to court.
ROLY
Yeah, whatever, you try it and see
what happens. A dad’s got a rightto see his lad.

13.

KELLY
Oh, don’t come that. You take aninterest when it suits you and it
doesn’t last five minutes.
Kelly spies what Davy is eating.
KELLY
That’s got nuts! You know he can’t
have it.
She moves to take it from him and Roly catches her by the
arm.
ROLY
Hey.
He’s noticed something. He shoves her out to arm’s length fora better look, and she makes a feeble attempt to cover thesigns.
ROLY
You going to tell me that’s all
Dunkin’ Donuts? Whose is it?
KELLY
Get off.
ROLY
I asked you a question.
The volume’s rising and people are starting to take notice.
KELLY
It’s none of your business!
ROLY
You needn’t think you’re having it.
KELLY
Get off!
He smartly hustles her to a spot no more than a stride away,
where a stack of stuff in the aisle obscures them fromgeneral view.
Something nasty happens just out of our line of sight.
An instant later, Roly is walking away briskly, hands thrustin pockets, at a speed that will have him out of the store
before anyone can act.

14.

An elderly woman starts raising the alarm. She’s got one ofthose walker-trolleys and can only shout from the spot.
ELDERLY SHOPPER
I saw what you did! You nasty
little bastard! You should beashamed of yourself!
Kelly is clutching her stomach, doubled-over and sinking to
her knees.
Roly sweeps on and out of the store unimpeded.
CCTV insert as he passes the checkouts -- he tilts his headso that the baseball cap hides his features from the camera.
Someone’s trying to call after him but he doesn’t break his
stride.
Back in the aisle -- Kelly’s doubled up, hugging herself,
still not able to make any sound as people start coming to
her aid.
221

INT. SUPERMARKET. DAY.

221

Another part of the store. Kelly’s been seated on a chair.
She’s breathing deeply, wiping at tears with a tissue. A
shelf-stacker lad hands her a paper cup of water.
MANAGERESSDan?
The lad looks at her and, with a flick of her eyes, she
signals for him to move away.
Then she bends over Kelly and lowers her voice fordiscretion.
MANAGERESS
Have you stopped bleeding?
KELLY
Think so.
MANAGERESS
You’ve got to let me call an
ambulance.
KELLY(emphatically)
No!!
MANAGERESS
Well, I’ve got to call someone.

15.

Kelly looks up. There is someone.
222

EXT. SUPERMARKET. DAY.

222

Kelly is being helped from the building by Lena Muller, 40s.
A tall woman, dark and a bit sinister. One of the staff leads
Davy by the hand, another brings Kelly’s shopping.
They cross to where a slightly shabby dark car waits at the
kerb with its hazards blinking.
We can hear Rachel’s voice leading sound over the end of thescene.
223

INT. HOOD’S CAR. DAY.

223

On the move. Rachel at the wheel, Hood beside her. Still darkof mood and pensive.
RACHELSo do we try and find this woman?
Hood stirs and starts paying attention.
HOOD
Which one?
RACHELThe one who paid the caretaker toburn the foetuses.
HOOD
I can’t get to her until they letme talk to him.
RACHELYou need to cut the local bobbies a
bit of slack, Hood. How often do
you think they come up against
something like this?
HOOD
Human cloning, a crime that brings
all of science into disrepute andgets you ten years in jail. What’s
so complicated about that?
RACHEL
Nothing if you’ve got a PhD.

16.

HOOD
Bloody coppers. Thick as they come.
Present company excepted. How far
are we going?
RACHEL
I’ve booked us into the Novotel.
HOOD
Does it have a gym?
RACHEL
What do you want a gym for?
HOOD
I like to ogle women in Lycra.
They pass a junction sign.
RACHELI thought your daughter lived inthis neck of the woods.
HOOD
She does.
RACHELAre you going to call her?
HOOD
I might.
He doesn’t sound too keen. Rachel glances his way with mild
surprise.
224

EXT. BUSINESS UNIT BUILDING. DAY.

224

Just off the motorway. A big, run-down old cotton mill that’s
been converted for business units. It’s barely a step above
dereliction.
225

INT. BUSINESS UNIT. DAY.

225

At first we’re close on Lena and Davy. The woman is chatting
to him brightly, keeping him distracted by letting him playwith some medical stuff -- tongue depressors, bandages. Only
when she glances across do we see that this is...
A big, bare space. In the middle of the old floor stands anisland of modern furniture and medical instruments, thecentrepiece being an obstetrics examination table under anoverhead operating light.

17.

Kelly’s lying on the table. Dr Sidney Hayward, 50s, runs acompact ultrasound scanner over her bulge and studies theresults in a laptop screen. Hayward is a former consultant.
His patrician manner is intact even if the bespoke suit has
seen better days.
SIDNEY HAYWARD
I think we’re all right. I don’t
see any damage. The placenta’s a
bit low down but that will probably
sort itself out.
He hands her a towel, and closes everything down while she’s
wiping off the lube and rearranging her clothes.
KELLY
Would I still get paid if anything
did go wrong?
SIDNEY HAYWARD
Not if it leads to a termination.
Don’t blame me, it’s my boss who
sets the terms. Why? Are you
worried about anything inparticular?
KELLY
Just asking.
SIDNEY HAYWARD
Asking’s free. But if anything doesgo wrong, you call me and I’ll dowhat’s necessary. Don’t even think
about going to your doctor.
KELLY
I’ve only got you.
SIDNEY HAYWARD
Good. You know what they do withgirls who break the law.
Kelly glances in Lena’s direction.
KELLY
If she can’t drive me back, can I
have some taxi money?
SIDNEY HAYWARD
What’s wrong with the bus?
KELLY
Bus fare, then.

18.

Hayward hesitates, fails to come up with an evasion, thenroots around in his trouser pockets for change.
SIDNEY HAYWARD
How much is it from here?
KELLY
Three pounds.
Lena Muller looks across at the scene with a face like aplate of condemned veal.
Hayward reluctantly sorts through his small change, trying to
make up the three quid.
225A

INT. BUSINESS UNIT. DAY.
A short time later.
Kelly’s leading Davy out. The door closes after them.
Lena Muller joins Sidney Hayward.
LENA MULLER
What’s the point sending her out
again?
SIDNEY HAYWARD
She’s worth a few more weeks.
LENA MULLER
I don’t know why you didn’t justterminate her right there.
SIDNEY HAYWARD
If you believe the scan she’s got
the most viable-looking foetus yet.
LENA MULLER
She’ll never hold onto it.
SIDNEY HAYWARD
Bit longer and it might be worth
inducing.
LENA MULLER
What if it won’t wait?
SIDNEY HAYWARD
Then she’d better be sure she gives
me a call. Unless she particularly
wants to die.

225A

19.

FIRST COMMERCIAL BREAK226

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229

EXT. POLICE YARD. DAY.

229

Rachel’s sitting behind the wheel in the parked car. Hood’s
standing beside it to make a personal call.
HOOD
Hello, Miranda. It’s daddy. I
assume you’re not there or it’s notconvenient to pick up the phone,so... just to let you know I’m inthe area for a while. Give me abuzz if you feel like it. Usual
number.
He ends the call and gets into the car.
RACHEL
Everything all right?
HOOD
I assume so. You know what it’s
like. She’ll be busy.
RACHEL
Heads up.
Sanders is emerging from the building.
HOOD
Is that the boy?
Right behind Martin Sanders, and without his awareness, DS
Cook steps out of the doorway and points him out in nearpantomime fashion.
RACHELThat’s the boy.
She starts the car.
With Sanders -- he’s leaving the police yard when the car
brakes to a halt ahead of him and Hood steps out. He opens
the car’s rear door by way of invitation.

20.

HOOD
Martin Sanders?
Sanders starts to take a step back, but now Rachel’s moved inright behind him.
MARTIN SANDERS
Who are you?
HOOD
Professor Alan Hood. Guess what I
want to talk about.
From his pocket he produces the silver cross and chain anddangles it before Sanders.
MARTIN SANDERS
Where’d you get that?
HOOD
I stole evidence. There. Now you’ve
heard my confession. I’m ready tohear yours.
MARTIN SANDERSThe magistrate said I can go.
HOOD
Good for the magistrate. Lastchance to come on board, Martin.
Your own free will.
MARTIN SANDERS
Get lost.
With an air of mild regret, Hood nods to Rachel and sets offaround to the other side of the car.
Sanders suddenly finds that Rachel is crowding him toward theopen vehicle door. He’s about to protest when she bangs her
knee into his thigh in what, in the playground, we would havecalled a ‘deadleg’.
Suddenly it won’t take his weight, and she grabs him tosteady him.
RACHEL
Sorry. Did I do that? Sorry.
Sanders protests but isn’t able to resist as she bundles him
into the back of the car...
Where Hood now waits.

21.

As Rachel goes back around to the driving seat, she catches
DS Cook’s eye across the yard...
And winks.
230

INT. HOOD’S CAR. DAY.

230

On the move. Rachel at the wheel, Hood and Martin Sanders inthe back.
HOOD
Twenty quid a pop and you couldn’t
quite bring yourself to pass it up?
You’d make a lousy businessman,Martin. Between the crosses andchains and the Dutch courage I
think you’ll find you were trading
at a loss.
MARTIN SANDERSYou can’t do this. It isn’t legal.
HOOD
Apparently you were helpful drunk
and useless sober. What’s best to
do with you, Martin? Take you tothe pub?
MARTIN SANDERS
I’m not saying anything else.
HOOD
Have you got no conscience? You
won’t get a better chance to easeit.
MARTIN SANDERS
Jesus knows what was in my heart.
And he’s forgiven me.
HOOD
Let’s ask him.
231

INT. CHURCH. DAY.

231

A gloomy town-centre Victorian Gothic church, pretty small.
Hood marches Martin Sanders down the aisle toward the altarrail with Rachel following after.
Sanders’ leg is still trailing and Hood’s helping to support
him, but the effect is that of dragging him up the aisle by
the scruff of his neck.

22.

HOOD
If the only thing that impresses
you is the wrath of God then makeno mistake, as far as you’re
concerned I am his instrument righthere on Earth. You think you did
right by the unborn dead? Thinkagain. Who paid you to burn that
medical waste?
MARTIN SANDERS
Just some woman.
HOOD
She didn’t come out of nowhere andshe didn’t pick you for no reason.
Who is she, Martin, and where can I
find her?
MARTIN SANDERS
I’m already in trouble. I don’t
want more.
HOOD
Don’t you? Well, you picked thewrong day to meet me, then, didn’tyou?
A side door opens.
PRIEST
What’s going on?
Hood relaxes his grip, turns it into a friendly hand-onshoulder.
HOOD
Sorry for the noise, father, I
always get a bit passionate in atheological discussion.
PRIEST
Give me a better reason than that,or take it outside.
HOOD
We were talking about the slaughterof the innocents. Whether it was
all down to Herod, or whether thefootsoldiers and spear-carriers
need to shoulder some of the blame.
What do you say, Martin?

23.

On Martin. His eyes flick from Hood to the priest. He has noready answer.
232

EXT. BUSINESS UNIT BUILDING. DAY.

232

The converted mill we saw earlier.
Hood’s car comes into the mill yard and stops.
233

INT. BUSINESS UNIT BUILDING. DAY.

233

A crude conversion -- partition walls and numbered units,each with the owner’s custom-made security on the door.
Hood and Sanders are by the door to the unit 118. They’re
waiting for something. As they talk, Hood inspects the chunky
padlock on its hasp.
MARTIN SANDERS
I’ve never had a key.
HOOD
Don’t you worry about it.
Hood moves to the plasterboard wall alongside the door andgives it an experimental tap.
HOOD
If the whole thing troubled you somuch, why didn’t you stop?
MARTIN SANDERSHe who rides a tiger can neverdismount.
HOOD
You weren’t riding any tiger. You
were cremating human foetuses formoney.
MARTIN SANDERS
I stopped doing that when I foundout what they were.
HOOD
But you didn’t stop taking them on.
Why?
MARTIN SANDERS
Who else was going to give them adecent burial?

24.

HOOD
A shallow grave and a couple ofprayers.
MARTIN SANDERS
And some holy water.
HOOD
That’s your idea of decency, is it?
MARTIN SANDERS
Unless one is born of water and theSpirit, he cannot enter the kingdomof God.
Hood stops tapping the plasterboard.
HOOD
What?
MARTIN SANDERS
If a baby’s not baptised then it
doesn’t go to heaven.
HOOD
So you did them yourself? Does thatstill count?
MARTIN SANDERSYou probably think it’s stupid.
On Hood. His manner doesn’t change much but his deeper
attitude to Martin does.
HOOD
No, Martin. I don’t.
A moment of understanding, then...
Rachel arrives, carrying a set of boltcutters.
Hood changes the mood.
HOOD
Oy oy. Armed feminist.
234

INT. BUSINESS UNIT. DAY.

234

A slow track taking in the big empty space with the island ofmodern furniture and medical instruments, the centrepiece of
which is the obstetrics examination table under an overhead
operating light, now standing dark.

25.

CLUNG! The sound of the padlock shearing is followed by thedoor opening.
After taking the sight in for a moment, Hood moves toward it.
Rachel follows with the boltcutters in her hand. Martin comesin last, closes the door, and stands close to it.
MARTIN SANDERS
There’s two of them. She calls him
Doctor.
HOOD
Is this where they work on the
girls?
MARTIN SANDERS
I wouldn’t know.
Hood shoots him a cynical look.
MARTIN SANDERS(admitting)Couple of times a week. Most ofthem are only kids.
Hood picks up some shiny instrument, muses, and lays it down
again.
RACHELYou obviously don’t have agynaecologist.
HOOD
I don’t have anything that wouldinterest one.
RACHEL
You’re not very happy.
HOOD
I was hoping for more than this.
Rachel’s by a table with a compact inkjet printer and ascattering of discarded attempts. She holds one up for him tosee.
It’s an ultrasound scan from around 11 weeks. Printing wascancelled so the image is unfinished by an inch or two.
RACHEL
Hood! You’ve got baby scans in asecret clinic. What on earth are
you looking for?

26.

HOOD
He may have implanted his embryos
here but he made them somewhere
else. It’s a big deal, Rachel. Big
technology. It’s not like yourbasic two lesbians and a turkeybaster.
RACHELHood!
HOOD
It takes a proper lab and all theskills to go with it. See this?
He lays his hand on a container like a milk churn. Lifts thelid, but it’s empty.
RACHEL
What?
HOOD
Liquid nitrogen transporter.
(reads label on lid) With an importlicense for bovine semen.
RACHEL
What’s he making, a minotaur?
HOOD
That’ll be a cover. He can hardly
say frozen clone embryos, can he?
He’s outsourced his lab work to a
country where there’s noregulation.
Their heads turn at a sound, as the door to the unit isopened.
Framed in the doorway stands Sidney Hayward, with the broken
padlock in his hand and a furious expression.
The first person he sees is Martin.
SIDNEY HAYWARD
Martin? You know you don’t come in
here!
Martin can’t help it -- he looks to Hood.
Hayward follows his glance...

27.

And at the sight of Hood starting towards him, steps out
quickly and pulls the door shut.
Hood covers the rest of the distance at a run, but he’s toolate -- the door won’t open.
235

INT. BUSINESS UNIT BUILDING. DAY.

235

Closeup on the hasp and staple, as the door rattles -- it’s
been closed up and the broken padlock thrust into it so thatthe door can’t be opened from inside.
A quick pan gives us a parting glimpse of Hayward as, none
too dignified, he vanishes off down the stairs.
236

INT. BUSINESS UNIT. DAY.

236

Rachel can see that Hood’s getting nowhere.
RACHEL
I’ll take him.
She turns and heads across the floor to a marked Fire Exit
door with a crush bar.
HOOD
Preferably in one piece!
Rachel hits the crush bar and an alarm sounds throughout thebuilding as she heads out.
Something then occurs to Hood. He lays his hand against thepartition wall by the door.
HOOD(to Martin)
Is this hollow?
Martin does a kind of shrug to say, As far as I know.
Hood brings out a Swiss Army knife or Leatherman which heopens and plunges, dagger-like, into the plasterboard atshoulder height, before sawing it downward.
237

EXT. BUSINESS UNIT BUILDING. DAY.

237

Rachel’s following a designated escape route that exploits
the visual possibilities of the building.
238

INT. BUSINESS UNIT BUILDING. DAY.
Hayward reaches the bottom of the stairs and heads toward
daylight.

238

28.

239

INT. BUSINESS UNIT BUILDING. DAY.

239

A big, ragged section of plasterboard being booted out into
the corridor with Hood stepping through after in a cloud of
white dust.
He heads for the stairway.
240

EXT. BUSINESS PARK. DAY.

240

Hayward reaches his car and drops into the driving seat.
Something like an old BMW, swish in its day but auctionfodder now.
Not a man of action -- he’s flustered and panicking. He
fumbles his keys and has to retrieve them from the floorwell.
241

EXT. BUSINESS UNIT BUILDING. DAY.

241

Rachel completes the escape route and reaches ground level ona different side of the building.
242

EXT. BUSINESS PARK. DAY.

242

Hayward gets his car started and backs out of his parking
space in such haste that he clips the next vehicle.
Then he shifts to forward, but as he sets off...
Hood stands in the way of his exit.
Hayward doesn’t slow, but presses hard on the horn.
On Hood, hand raised in a signal to halt, realising thatHayward intends to do no such thing.
HOOD
Ah.
When Rachel suddenly appears, drawing her 9mm Automatic andtracking the car as it heads straight for Hood and it’s going
to run him down if she can’t stop or divert it...
She’s aiming low, and it’s BANG! BANG! without success at thetyres before she raises her aim and fires at the car itself.
On Hayward -- both rear side-windows are blown out as thebullet passes through the car, and Hayward’s terrified
reaction is to duck and violently jerk the wheel.
Angle from above -- the swerving car narrowly misses Hood.
On Hayward -- terrified, but recovering control.

29.

She runs forward. But by the time she reaches Hood, Hayward’s
around the corner of the building and gone.
She’s incandescent and she doesn’t hold back one whit.
RACHELYou stupid old man! What do you
think you were doing?
HOOD
Me?
RACHELDo you think my job’s a joke? I’m
supposed to keep you safe, and look
how you carry on.
HOOD
Well, I’m sorry, but that’s thelast thing I was thinking about.
RACHEL
Tell me something I don’t know!
Rachel returns the firearm to its concealed holster andstorms toward their car.
243

INT. HOOD’S CAR. DAY.

243

Both get in. Rachel slams her door. There’s an atmosphere.
RACHELI discharged a firearm at a moving
vehicle. Do you know what I’ll haveto go through now?
She makes an effort to calm herself.
HOOD
I am sorry.
RACHEL(not looking at him)
Let me go, Hood. Please.
HOOD
Your job is far from a joke. And I
do need you.
RACHEL
You’d get the exact same support
from any one of a hundred people.

30.

HOOD
Not from the ones they keep trying
to send me. Look, I don’t doapology very well.
RACHELIs that why your own daughter won’t
speak to you?
Ouch! Bullseye with a brick.
244

OMITTED

244

244A

INT. KELLY’S FLAT. DAY. (INTERCUT)

244A

Kelly’s in social housing and may not have been trained inhousekeeping skills, but it’s as decent as a 19-year-old
single mother can make it.
She’s reading to Davy. It’s a child’s book with pictures, but
still she struggles with the words.
KELLY(reading)“And that’s the end of the story,
except to say that all of theguests went back to their homes,
and told stories of the kindness of
Mondrago their king. And when theword of his kindness had spread far
and wide...”Ouch. She winces with a sudden pain.
KELLY
Oh, god, no.
She puts a hand to her stomach and fights the pain. At thismoment, her phone rings.
Kelly moves into the kitchen where her phone’s plugged into awall socket, charging.
We stay, and push right in on the cream-coloured cushion she
was sitting on, to find...
Blood patches, freshly soaking into the material.
With Kelly -- wiping her eyes, she answers the call.
KELLY
Hello?

31.

244B

EXT. STREET. DAY.

244B

First we see the back windows of Hayward’s car, with sheet
plastic taped to replace the shot-out glass.
Through the plastic, we see something blurry moving.
And then we shift our point of view to see that it’s Lena
Muller, hastily deserting their crummy back-streets flat witha couple of suitcases. As she brings them around to the open
boot we find Sidney Hayward on his mobile, just putting his
own bag in.
SIDNEY HAYWARD
Kelly, it’s Doctor Hayward. Stay
away from the clinic. We’ve had a
bit of an emergency. Has anyone
been to see you?
KELLY
No. What if I have to call you?
SIDNEY HAYWARD
You can still call me, just don’t
go back to the building. Is there a
problem?
KELLY(feigning okay-ness)
No.
SIDNEY HAYWARD
Good. Stay healthy, have this baby - everyone wins.
He ends the call.
LENA MULLER(scornfully)
Everyone wins.
SIDNEY HAYWARD
We should get out now.
LENA MULLER
And do what? Look at us. Look at
this!
She points at the plastic covering the car windows.

32.

SIDNEY HAYWARD
That’s what I mean! I was shot at!
It was like the Wild (f*****g)West!
He does that thing where you censor yourself but the word
leaves a shadow.
LENA MULLER
And where do you think we’re goingto go? You can’t even cover achild’s bus fare. If it’s going to
be like this then Luciano has topay you more!
SIDNEY HAYWARD
Oh, yes. He’ll go for that.
LENA MULLER
It’s all right for him. He’s miles
away! We’re stuck here looking
after the girls and taking all the
chances!
SIDNEY HAYWARD
Well, that’s hardly going to benews to him, is it? As far as he’s
concerned it’s the whole point of
the setup.
LENA MULLER
Then start talking up how promising
the new one is. See if that loosens
his wallet. ’Cos we’ll all be quidsin if one of them beats the odds.
SIDNEY HAYWARD
You think that’s the answer.
LENA
Isn’t it?
SIDNEY HAYWARD
If any one of those freaks ofnature ever does draw breath,that’s the day the real trouble
starts.
245

INT. HOOD’S CAR. DAY.

245

Parked on a busyish street where there are flats and houses.
Hood and Rachel sit in the car. Rachel’s calmer now. They
seem to be watching for something.

33.

HOOD
Cloning’s a numbers game. It’s a
fluke if one comes right. You makea thousand little monsters to getyour one little angel.
RACHEL
Why’s he doing it here?
Hood looks at her.
RACHELYou tell me how tricky thesemaverick cloners are. Moving it
around whenever there’s a ban. So
why not do the whole thing in somethird world country?
HOOD
Maybe I’ll get the chance to ask
him.
RACHEL
Maybe this is where his client is.
Hood looks at her again, more seriously.
RACHELHow much is it costing? Someone’s
got to be paying.
Hood’s mind is so taken with the implications of this that healmost misses his reason for being here.
RACHELIs that your daughter?
Quickly, he returns his attention to the street.
A young woman has emerged from one of the houses. She’s
stopped to double-lock the door behind her.
RACHEL
Well?
Hood starts to undo his belt, then...
HOOD
What am I doing? This is stupid.
RACHELGet a move on. You’ll miss her.

34.

Hood hesitates. Then decides.
HOOD
No.
RACHEL
Hood!
HOOD
It’s not right. I’ve gone anddragged you down here to prove apoint that doesn’t need proving.
Look. It’s obvious she’s goingsomewhere. I’m not going to botherher. (refastens his belt) Come on.
Let’s go.
Hood’s blustering a bit and Rachel’s not fooled. She keeps asteady gaze on him; he avoids looking at her.
HOOD
Please.
With a shrug, Rachel starts the car.
246

OMITTED

246

247

OMITTED

247

248

OMITTED

248

249

INT. KELLY’S FLAT. NIGHT.

249

Davy sits watching TV.
Through an open doorway we can see that Kelly’s in the next
room. She’s just pacing, but we can’t see all the way in towhat she’s doing.
But we glimpse her as she passes the doorway, hand to herbrow and crying.
250

INT. NOVOTEL FOYER. NIGHT.
Hood comes in with Rachel a few paces behind him,
professionally scanning for hazards. Hood’s carrying alaptop.
HOOD
D’you want to meet up in therestaurant later?

250

35.

RACHEL
Nah. I’m for a long bath and room
service.
251

251

INT. HOOD’S HOTEL ROOM. NIGHT.

Hood stands waiting as Rachel takes a look in the bathroom,
then checks the window lock and closes the curtains.
RACHEL
Keep these closed. Got your panic
button?
He rummages around in his coat pocket and digs out a small
signalling device no bigger than a zippo lighter.
He blows the fluff off before showing it to her.
RACHEL(patiently)
Switch it on.
He slides the thumb switch on the side.
RACHELIn case you didn’t notice it, yourthreat level went up today.
HOOD
Does that mean I can’t leave theroom?
RACHELYou can leave the room, but don’t
leave the hotel. And if you signfor dinner...
HOOD
Use the cover name.
Rachel’s phone gives a text beep. She looks and...
RACHEL
Excuse me. And I wouldn’t risk thefruit.
She leaves the room.
Hood puts the laptop computer down and starts to open it.
251A

INT. NOVOTEL FOYER. NIGHT.

251A(scene relocated from police yard, day and moved from 246)

36.

DS Cook is standing in the foyer. Hands in pockets, waiting,killing time in motel limbo.
He wanders across to look at some piece of hotel art that’s
not worth looking at.
Suddenly...
Rachel comes striding through the swing doors from the rooms
corridor.
RACHEL
Doug. Thanks for this.
DS COOK
I’m five minutes away.
RACHELI know, I remembered. I need togive you this.
She holds a metal disc out to him.
DS COOK
What is it?
RACHELThe lid from a container for
refrigerated bull semen.
DS COOK
Now you’re embarrassing me, ’cause
I haven’t got a present for you.
RACHEL(patiently)
There’s a customs label on it. Do
me a big favour and find out who
applied for the import license.
DS COOKThat’s your close protection work,
is it? Admit it, you’re desperate
for some proper coppering.
RACHELI am not desperate for anything.
But Professor Hood and I would
appreciate a result.
She walks away, back toward the doors.
DS Cook glances at the lid and its label...

37.

But finds Rachel walking away more interesting.
251B

INT. HOOD’S HOTEL ROOM. NIGHT.

251B(relocated from police building, day and moved from 247)
Closeup on Hood’s computer laptop screen. He’s got it plugged
into the room’s internet access point.
It’s showing a website news page very similar to the formatof the BBC news pages. The news column carries the headline
GYNAECOLOGIST BANNED and a column-width picture of someone we
don’t know above the text.
Hood clicks a link in the ‘See also’ column and another story
takes its place... DISGRACED SURGEON STRUCK OFF and anotherpicture we don’t recognise.
A knock at the door.
HOOD
Yes.
Hood clicks again as Rachel enters the room on a key.
HOSPITAL SPECIALIST SUSPENDED.
RACHELI forgot to leave your key. What’swith the charm squad?
HOOD
Struck off.
RACHELAll I did was ask.
HOOD
These are all gynaecologists who’vebeen struck off the medical
register. If you need aprofessional for something illegal
then you’ll find one among thefallen.
As he’s speaking, up comes a photo of Sidney Hayward.
RACHEL
Isn’t that ours?
The headline reads HAYWARD CONDEMNED AS ‘DISGRACEFUL’. The
picture shows a smoother, better-groomed Hayward in a pausefor-the-cameras-on-the-pavement-outside-the-GMC-on-the-day-ofthe-enquiry shot.

38.

Hood summarises from the screen.
HOOD
Sidney Hayward. Consultant
Gynaecologist. Incompetence andfinancial irregularity. Leftseventeen women in pain,incontinent, or unable to bear
children.
RACHELGreat. Lift him, lock him up, job’s
a good ’un.
HOOD
If only.
RACHELWhy not?
HOOD
He’s not the one who’s making theclones. He’s just here to manage
the host mothers.
RACHELHe could be doing both.
Hood looks around. How to explain?
HOOD
Give me your tweezers.
Puzzled, Rachel takes out a jellycard and pulls the tweezers
from it.
Hood, meanwhile, takes a green grape from the mixed bunch on
the room’s underwhelming fruit basket. He holds it up between
thumb and forefinger.
HOOD
This a woman’s egg. The pip inside
it is the nucleus with her uniqueDNA. To make a clone you first get
rid of her nucleus...
He plunges the tweezers into the grape stem hole.
RACHEL(wincing)
Hood...
The tweezers come out with a grape pip, which he discards.

39.

HOOD
And replace it with a nucleus fromany cell of the person you want toclone. I need a different grape.
RACHEL
I’ll imagine.
HOOD
No, it’s not the same.
Jump cut to a pip being pulled from a black grape.
Jump cut to Hood inserting the new pip into the original
grape.
HOOD
Original egg, new DNA in the
nucleus. Shock it with a little
jolt of electricity...
He gives the grape a little flick.
HOOD
Which fools it into thinking it’s
been fertilised. Within a week...
He holds up the small cluster of half a dozen black grapes.
HOOD...it’s making stem cells that willdevelop into the person of yourchoice. You put this embryo backinto a woman and then, and only
then, does our incompetent
gynaecologist enter the picture.
Rachel reaches over retrieves her sticky tweezers with an
expression of distaste.
HOOD
The man I want is the man who does
the grapes.
RACHEL
Goodnight, Hood.
She leaves him to it.
He pops the grape in his mouth.
RACHEL (O.S.)
Cannibal.

40.

252

OMITTED

252

253

INT. TREATMENT CUBICLE. NIGHT.

253

Kelly Fox sits on an examining couch with her knees drawn up
and a blanket over them.
A junior doctor who doesn’t look much older is addressing her
while amending her notes.
JUNIOR DOCTOR
Why’d you let the pregnancy get
this far without seeing anyone?
KELLY
I was fine with my first one.
JUNIOR DOCTOR
Well, this time’s different. We
need to know what’s causing the
bleed.
KELLY
Are you going to give me somethingfor it or not?
JUNIOR DOCTOR
It’s not that simple. Have a lie
down. I’ll be back in a minute.
254

INT. HOSPITAL CASUALTY DEPARTMENT. NIGHT.

254

A short time later.
The cubicle curtains part and Kelly pops her head out.
Unobserved, she slides out and away.
255

OMITTED

255

256

INT. NOVOTEL RESTAURANT. NIGHT.

256

Hood sits alone at a table. Reading a secondhand JG Ballard
paperback.
WAITRESS
Finished?
HOOD
Yes, thank you. That was ever so
good.

41.

He sits back so that she can clear the table for him.
Ouch! Something’s digging in. He reaches down behind andcomes up with...
The panic button device. Seems he’s been sitting on it.
With a frown, he holds it to his ear. It’s humming faintly.
Peering through his reading glasses, he slides the little
thumb-switch off and on again.
BAM!
The restaurant doors burst open.
SMASH!
The waitress drops all her plates and cutlery as a charging
figure shoulders her aside.
It’s Rachel. Her hair’s up and she’s dripping wet. One handclutches a damp towel around her and the other hand holds a
9mm automatic ready to fire.
She skids to a halt in the middle of the floor and then...
Stillness. Only her eyes move as she quickly takes in theroom.
Every diner is staring at her. At least one with mouth open
and fork in midair.
And there’s Hood, innocently surprised, paused in the act offiddling with the device.
Rachel blushes to her roots.
RACHEL
Right.
Then makes as abrupt and dignified a withdrawal as she canmanage.
256A

INT. TREATMENT CUBICLE. NIGHT.

256A

The junior doctor approaches with a nurse, and draws thecurtain aside to reveal...
An empty cubicle, blanket thrown back. Blood spotting on the
couch’s paper liner.

42.

257

INT. NOVOTEL CORRIDOR. NIGHT.

257

Hood approaches.
He raises his knuckles to tap on one of the doors.
But before he even makes contact, the door jerks open about
six inches and one eye of Rachel looks out through the gap.
RACHEL
Well done, Hood, you’ve blown our
cover.
HOOD
Buy you a drink to say sorry?
RACHELYou think I can show my face out
there again?
Slam! She closes the door on him.
HOOD
It’s not your face they’ll
remember.
As he starts to turn away from the door he sees...
DS COOK
Professor Hood!
DS Cook, heading down the hotel corridor towards him.
HOOD
Any luck with Sidney Hayward?
DS COOK
He’d done a runner. But thehospital watch has turned up apregnant teenager. Nineteen years
old. Turned up bleeding at A and E.
No prior care and some serious
complications.
Hood turns and bangs on the door behind him.
HOOD
Rachel. Rachel!!
She opens it, again a crack.
HOOD
We’re not done yet.

43.

She nods and vanishes. No messing.
SECOND COMMERCIAL BREAK
258

INT. HOSPITAL CASUALTY DEPARTMENT. NIGHT.

258

BANG! Through a set of double doors.
Hood and DS Cook come into view together, Rachel closebehind. All moving briskly.
HOOD
Any problem with patient
confidentiality?
DS COOK
Duty of Care overrides it.
259

INT. HOSPITAL SECURITY SUITE. NIGHT.

259

They’re running CCTV tapes from earlier in the day.
One shows the children’s play area by the waiting room.
Davy’s there alone.
Then Kelly rushes in, gathers him up, and exits. It’s over inmoments.
But they backwind, hunt around for the one frame that catches
Kelly full-face, and freeze on it.
HOOD
Doesn’t that just put a human faceon it?
Big close up on the monitor. Seen at this distance, Kelly’s
face comprises an op-art pattern of pixels that almost fills
the screen.
260

INT. HOSPITAL CASUALTY DEPARTMENT. NIGHT.
Hood and Rachel talking to the junior doctor.
HOOD
They won’t let her go to a proper
doctor. But if she can’t hang onto
it, she probably won’t get paid.
JUNIOR DOCTOR
She’s well on her way to losing it.
HOOD
Is she actually in danger?

260

44.

JUNIOR DOCTOR
Someone’s punched her in thestomach. It’s exposed a condition
where the placenta’s covering theexit of the uterus.
RACHEL
Placenta Previa.
They look at her.
RACHELMy sister-in-law had it. They said
if it didn’t correct itself they’dgive her an early caesarian.
JUNIOR DOCTOR
Better that than a fatal
haemorrhage. If contractions startwith the placenta blocking theway...
He makes a POW! hand gesture like a grenade exploding.
HOOD
She has no idea.
He launches off without explanation.
261

INT. HOSPITAL CASUALTY DEPARTMENT. NIGHT.

261

Hood’s heading for the treatment cubicles with Rachel
sticking close.
HOOD
An oversized placenta is one of thecommonest features of a clone
pregnancy.
And as we come around with them into the cubicle we find...
An orderly stuffing the bloodstained covering straight fromthe treatment couch into a hazard bag.
HOOD
Excuse me. I’ll need that.
262

OMITTED

262

262A

EXT. FORENSICS LAB. NIGHT.

262A

Low-rise and fairly modern.

45.

Sign reads Forensic Science Service with a diamond-shaped
logo.
263

INT. FORENSICS LAB. NIGHT.

263

Hood watches closely as Amanda Ross sets up a DNA PCR test.
Rachel stands further back.
HOOD
How long?
AMANDA ROSS
By morning. But don’t get yourhopes up. The foetus has its own
blood supply. Chances are you’ve
just got the mother’s.
She starts to clear up, rebagging the waste.
HOOD
Had any repercussions?
AMANDA ROSS
Give it time. I’ve lost any
popularity I had around here, I cantell you that.
Hood notes Rachel’s questioning look.
HOOD
Amanda’s my whistleblower.
AMANDA ROSS
Where else was I going to go with
it? I showed my boss all thematching profiles, and he chucked
them on his desk. Next thing I
know, he’s off to a conference andthey’re still lying there.
HOOD
Why wouldn’t he take it seriously?
AMANDA ROSS
’Cause in his mind it’s not real.
Gave me his silly-woman look andtalked about cross-contamination
like I was the work experience kid.
HOOD
Cross contamination? I don’t think
so.

46.

AMANDA ROSS
What’ll happen if they ever get it
to a live birth?
HOOD
Then for your boss and everyone
else, human cloning suddenly
becomes real in the worst possible
way. And that’s regenerative
medicine screwed for the forseeable
future.
AMANDA ROSS
It was worth sticking my neck out
for, then.
HOOD
Oh, you bet. One damaged humanchild in the headlines and we’reright into the Frankenstein season.
264

INT. FORENSICS BUILDING. NIGHT.
(was Ext. Forensics Lab)
Hood and Rachel heading for the car.
RACHEL
What’s all this regenerative
medicine business?
HOOD
Remember the bunch of grapes? The
stem cells that were going to go on
and build your new person? They’realso a potential repair kit for theoriginal donor’s body.
RACHELI thought this was all about
teenaged girls and babies goingwrong.
HOOD
It’s about the abuse of embryo
research. The girls are at the
sharp end of it.
RACHEL
What about the embryo? Isn’t that aperson?

264

47.

HOOD
More like the basic kit for one.
RACHEL
What’s the difference?
HOOD
There’s your debate.
RACHELI prefer it simple.
HOOD
You want it simple? Therapeuticcloning good. Human cloning aperversion of the science.
RACHEL
Making an embryo just to kill it
doesn’t sound too brilliant,either.
HOOD
Nature makes them and wastes them
all the time.
RACHEL
So it’s a numbers game. Same aswith your cloner.
HOOD
Not the same.
RACHEL
Only because one suits yourargument and the other doesn’t.
Rachel’s phone beeps with a text message.
As she checks it...
HOOD
Who’s it from?
RACHEL
No-one you know.
265

OMITTED

265

266

OMITTED

266

48.

267

INT. HOOD’S HOTEL ROOM. NIGHT.

267

Rachel completing the security once-over, bathroom andwindows.
HOOD
You never got to eat.
RACHEL
I’ll survive.
Hood rummages in his pocket and brings out a manky-looking
paper bag that you wouldn’t want to touch.
HOOD
I’ve got a sandwich.
He offers it.
RACHELHow old is that?
He sniffs the bag and shrugs.
RACHELGood night, Hood.
She leaves him.
268

INT. NOVOTEL CORRIDOR. NIGHT.

268

Rachel closes Hood’s door.
Then sets off down the corridor.
269

INT. NOVOTEL RESTAURANT. NIGHT.

269

The restaurant’s now deserted apart from Doug Cook, sitting
on a chair pulled out from an empty table with an uncappedbottle of beer at his elbow.
He rises when he sees Rachel coming.
DS COOK
Thought you were gone for thenight.
RACHELIt was starting to look that way.
She seizes him by the hand and tows him away. He’s a bit
bewildered but he doesn’t resist.

49.

We let them go.
270

INT. HOOD’S HOTEL ROOM. NIGHT.

270

TV’s on. Miniature teamaker kettle’s on. Hood inspects his
sandwich and decides it’s only fit for the bin.
Having dumped it, he starts to throw his keys and loosechange and stuff onto the unit.
Along the way he picks up the TV remote and switches on the
set.
271

INT. RACHEL’S HOTEL ROOM. NIGHT.

271

The minibar stands open. Empties are ranged on top of it.
Loads of ice in the ice bucket. Energetic music on the TV forbackground.
On the king-sized bed, Doug Cook and Rachel are playing ginrummy, of all things.
RACHELI came to him on a three monthassignment. I’ve been with him eversince. He won’t have anyone else.
DS COOK
Why not?
RACHELHe reckons no-one else will do.
Which means my entire career has
been stopped in its tracks. Now
every few days it’s another town
and another hotel with a bar fullof salesmen like chihuahuas onheat. Half the people from my year
already outrank me and if I ever doreturn to duties, I’ll be theoldest newbie in the business. Gin.
She lays down a completed hand of cards. Cook contemplates it
for a moment.
DS COOK
This should really be poker.
RACHELI’m useless at poker. Get on with
it.

50.

He throws his cards down and starts to strip off his T-shirt.
It gets snarled up over his head and he has a struggle.
Rachel gathers in all the cards and shuffles them like a pro.
272

INT. HOOD’S HOTEL ROOM. NIGHT.

272

Hood’s kicked off his shoes and stretched out on the bed
covers with the pillows wadded up behind him; remote in one
hand and a mug of coffee in the other, he’s channel surfing
and has found an ad to be offended by.
TV VOICE-OVER
Essence Rouge harnesses the powerof multihydrated liposomes toliterally turn back the clock on
ageing skin.
HOOD
That’s bollocks. Bollocks!
TV VOICE-OVER(continuing under Hood)Its special deep-penetration
formula acts to reduce lines andwrinkles.
273

INT. RACHEL’S HOTEL ROOM. NIGHT.

273

Rachel’s down to her underwear.
She rearranges her hand and discards a picture card...
Which Doug Cook picks up and adds to his own.
DS COOKGin.
He lays down his hand. Looks at Rachel.
Rachel looks back. Anticipation in the air.
Then there’s a gap in the music and they hear...
HOOD (O.S.)(muffled by the wall)
Absolute bollocks!
274

INT. RACHEL’S HOTEL ROOM. NIGHT.
Back with the music. Slam!

274

51.

The game abandoned, Rachel and Doug Cook hit the mattresshard enough to make it bounce.
Then Doug Cook suddenly hesitates.
DS COOK
What about protection?
RACHELThat’s what I do all day.
Rachel waits but he’s a bit too anxious to appreciate thegag... so she relents.
RACHELIn the drawer.
He slides out of shot and we hear the bedside table drawer
being pulled open, followed by a nonplussed sound as Cookfinds something unexpected.
DS COOKOh.
RACHEL
Behind that.
As Cook gets what he needs and returns to her, we pan awayfrom them toward the bedside table.
Whatever they’re doing sounds like fun but we don’t see
anything of it because we’re pushing in on the open bedsidedrawer to discover...
Rachel’s gun in its holster, lying on top of her clean
underwear.
THIRD COMMERCIAL BREAK
275

EXT. LANE BY GIFFORD’S HOUSE. DAY.

275

Morning.
Hood’s car makes the turn in through a gateway and we go withit to see...
A big house in the stockbroker belt.
HOOD
He’s had a board up.
We let the car go, and end on an estate agent’s board with a
SOLD sign.

52.

276

OMITTED

276

276A

EXT. GIFFORD’S HOUSE. DAY.

276A

Hood and Rachel get out of the car. Hood stands looking at
the building.
RACHEL
What were you hoping to see?
A man’s emerging from the main building. Looks like he’d been
disturbed from dusty work.
HOOD
Would you be Mister Gifford?
GIFFORDWho are you?
HOOD
Alan Hood. You don’t know me. Can
we talk inside?
GIFFORD
What about?
277

INT. GIFFORD’S HOUSE. DAY.

277

Gifford’s made a singlehanded start on packing the house up
and hasn’t got very far.
HOOD
Hope I’m not holding up your move.
GIFFORD
This lot’s for storage. I’m taking
a flat.
HOOD
We traced your company name fromthe import license on a consignmentof frozen bull semen.
GIFFORDDo I look like a farmer?
HOOD
The license was a cover forsomething else. I take it you’ve noidea what I’m talking about.

53.

GIFFORD
Sorry to disappoint you. My
company’s been wound up, now.
Anyone could be using the name.
HOOD
What line of business are you in?
GIFFORDI used to buy and sell officefurniture. Until I sold up andliquidated the stock.
HOOD
What did you do then? Invest in
biotech?
GIFFORDI haven’t done science since I was
at school. I’ll stick to what I
know.
HOOD
Office furniture.
Gifford shrugs, his point already made.
Rachel’s looking at a collection of framed family photos
that’s been gathered for packing.
RACHELHow old was your son when he died?
Hood looks. Looks at the photos.
It all clicks.
HOOD(to himself)
Hood, you’re an idiot. Where idiots
gather, they will speak your namewith awe.
Gifford knows the game just changed. But he’s calm.
GIFFORDTo answer your question, he wasseventeen. We’d only just taken
this place on.
HOOD
How did you lose him?

54.

GIFFORDH E S. It’s a rare blood disorder.
You treat it with chemo and drugs
but it goes for the major organs.
With Simon it was the heart and thelungs.
HOOD
I’m very sorry.
GIFFORD
Sorry doesn’t bring him back.
HOOD
But you think money will? Is that
why you cashed in your company andsold up the house?
GIFFORDI don’t expect you to understand,so perhaps you’d better just leave.
HOOD
Who’s doing it for you? Has he told
you that you can see your son
again? Because he’s lying to you.
The dead stay dead.
GIFFORD
Get out.
HOOD
Just his name! It’s not just about
you! There’s a girl out there who
could be bleeding to death rightnow!
GIFFORD
Out!
278

EXT. GIFFORD’S HOUSE. DAY.
Hood and Rachel, walking to the car.
Hood looks back. Gifford’s watching them from a window.
HOOD
I made a mess of that.
RACHELYou did.

278

55.

HOOD
I was so busy looking for thecloner I hadn’t even thought about
the client.
RACHEL(moving closer)
Don’t stress about it. Look.
He looks down. She’s showing him something, using her body toscreen it from Gifford’s view.
HOOD
What’s that?
RACHELA cordless extension.
HOOD
I don’t get it.
RACHELThe first thing he’ll do is make apanic call.
They get into the car.
279

INT. TAWDRY B&B. DAY. (INTERCUT)

279

In a cramped attic bedroom, Sidney Hayward stands at thewashbasin in his vest, shaving. Across the room, his mobile
phone starts to ring.
Lena Muller lies fully-clothed but shoeless on the bed. One
hand’s over her eyes in a “I’m-precious-and-I’ve-got-amigraine” pose.
Hayward looks at her, sees that she isn’t going to move, thenlays down his razor and moves to get the phone.
SIDNEY HAYWARD(into phone)
Yes.
280

INT. GIFFORD’S HOUSE. DAY. (INTERCUT)
Gifford’s in the kitchen.
GIFFORD
It’s Peter Gifford. I just had a
Professor Hood here. Do you know
anything about him?

280

56.

SIDNEY HAYWARD(guarded)
Maybe.
GIFFORD
You do or you don’t.
SIDNEY HAYWARD
He could be the one who found theclinic setup.
GIFFORD
Well, thanks for the warning! I’mtelling Luciano we need to cool it
for a while.
This is not what Hayward wants to hear.
SIDNEY HAYWARD
You can’t do that.
281

EXT. LANE BY GIFFORD’S HOUSE. DAY.

281

Hood and Rachel, standing by the car with their heads
together listening in. Hood’s hand is clamped over themouthpiece.
GIFFORD (PHONE)
Give me one good reason why not.
SIDNEY HAYWARD (PHONE)
We’ve got a girl out there with themost viable foetus yet.
282

INT. TAWDRY B&B. DAY.
Continuing as before.
GIFFORDIs that true?
SIDNEY HAYWARD
On your son’s life.
GIFFORDI might have known it.
SIDNEY HAYWARD
What?

282

57.

GIFFORD
Hood was trying to scare me bysaying she was bleeding to death.
The bastard.
SIDNEY HAYWARD(mind racing)He said that?
He kicks the bed, and gets some satisfaction as Lena Muller
jumps.
SIDNEY HAYWARD
Look, if you pull the plug now,that could be the end of it. You’veseen how Luciano protects himself.
You think your son will thank you
if you pass up your last chance?
Gifford takes a moment.
Hayward briefly covers the phone and gestures to Lena Muller.
SIDNEY HAYWARD(to her)
Get your pouty arse in gear. He’s
trying to bail out on us.
Then back to the phone as her jaw drops...
GIFFORD
What do we do?
SIDNEY HAYWARD
Don’t do anything hasty. I’ll checkon the mother right now.
283

EXT. LANE BY GIFFORD’S HOUSE. DAY.
Hood lowers the phone.
RACHEL
Could they be that close?
HOOD
It’s always possible.
Rachel’s looking at the phone.
RACHELWe need to return that.

283

58.

HOOD
Yes.
He weighs it in his hand for a moment, and then brings hisarm back and chucks it over the hedge like a stick for a dog.
RACHEL
Hood!
HOOD
Don’t shout at me. I’m pissed-off.
RACHEL
What at?
HOOD
Me! I’ve screwed it up.
RACHELYou know Gifford’s the client andnow you’ve got a name for thecloner!
HOOD“Luciano”. Pass me the mafia
phonebook.
RACHELGet in the car.
She moves to get behind the wheel.
284

INT. FORENSICS LAB. DAY.
A DNA profile on a lightboard.
Amanda Ross turns from it.
AMANDA ROSS
Sorry, Hood. There’s only one
person’s DNA in the sample you
brought me.
Hood looks on it despondently.
HOOD
So it’s just the mother’s?
AMANDA ROSS
Yes.
Rachel steps in.

284

59.

RACHELCan you run a familial search?
AMANDA ROSS
If someone authorises it.
RACHELYou make a start and we’ll get theauthorisation.
AMANDA ROSS
Will do.
She moves to it. Hood’s aware that things just got a bit lessbleak but he’s not sure how.
HOOD
A what?
RACHELA familial search. DNA from every
police case goes into the database.
Doesn’t matter if the girl herself
isn’t in there. You can look for ablood relation with points ofsimilarity.
HOOD
So you don’t even have to be in the
database... as long as you’ve got a
relative who is?
RACHELWe found the Cardiff Valentine
killer through a 14-year-old nephew
who wasn’t even born when the crime
was committed.
285

OMITTED

285

286

EXT. COUNCIL FLATS. DAY.

286

Sidney Hayward and Lena Muller head down the deck accessway
toward...
287

EXT. KELLY’S FLAT. DAY.

287

Hayward taps on the door, only to find it swings open a few
inches.
SIDNEY HAYWARD
Kelly? It’s Doctor Hayward.

60.

He leads the way, and Lena follows with a guilty glance backto see if they’re being observed.
288

INT. KELLY’S FLAT. DAY.

288

Curtains drawn. The TV playing. Hayward leads the way throughinto the sitting room.
SIDNEY HAYWARD
Kelly?
In the sitting room... toys everywhere, the TV’s on, and the
young woman’s hunched shape lies on the sofa.
Quickly, Hayward moves to her. He crouches by the sofa andopens up his medical bag.
SIDNEY HAYWARD
Kelly. Why didn’t you call me?
KELLY(in pain)
If I’m not doing well enough,you’ll just get rid of it.
SIDNEY HAYWARD
Not this one, we won’t.
289

OMITTED

289

289A

EXT. LANE BY GIFFORD’S HOUSE. DAY.

289A

Gifford’s in his Range Rover. It’s decent but four or five
years old. He’s emerging from his driveway when...
He almost collides with Hayward’s car as it makes the turnin. Hayward jumps out, his car blocking the way.
SIDNEY HAYWARD
She needs an emergency c-section
with no questions asked.
Gifford starts to speak, but Hayward speaks across him.
SIDNEY HAYWARD
Without surgical intervention yourson will be dead before the day’sout, and the host mother with him.
Your choice.

61.

GIFFORD
Luciano wanted to be there at thebirth.
SIDNEY HAYWARD
He’s on his way. I can fix up the
hospital but you need to front thecash.
Gifford glances at the Range Rover.
GIFFORD
Give them my number. I’ll sort
something out.
Hayward moves to get back into his car. As he goes aroundit...
SIDNEY HAYWARD
Just one thing. You do know we’retalking viable here. Nobody’s
promising perfect.
He gets in.
On Gifford -- having to deal with the full implications ofthat for the first time.
290

OMITTED

290

290A

INT. FORENSICS LAB. DAY. (INTERCUT)

290A

Amanda Ross phoning from before a computer screen with search
results.
AMANDA ROSS
Hood, I’ve got a strong contenderfor you. Kelly Ann Fox, single
teenage mother, one child, incouncil accommodation.
291

INT. HOOD’S CAR. DAY.
Rachel driving, Hood on the phone.
HOOD
Let me write down the address.
He gets out his palm pilot.
HOOD
Hang on. The battery’s down.

291

62.

Without even looking, Rachel produces a notepad fromsomewhere on the dash.
HOOD
Thanks.
Now he starts to pat his pockets for a pen.
With similar economy of movement, Rachel reaches up and pulls
a pen from his sun visor.
Hood clicks the pen. Then keeps clicking it because he can’t
make it work.
RACHEL(raising her voice)Text it to him.
292

INT. KELLY’S FLAT. DAY.

292

Kelly sitting upright on the sofa now, a blanket around hershoulders. Lena Muller’s cleaning Kelly’s face up with wipes,
taking off the tearstains and the smudged mascara.
KELLY(attempting optimism)
I’m sure I can still feel itmoving.
LENA MULLER
Don’t you worry. The doctor’s
making the arrangements.
KELLY
I don’t even care about the money
any more.
LENA MULLER
Shh... shh... shh.
KELLY
I was all right till he punched me.
The door buzzer rings.
LENA MULLER
See? The doctor’s back. Told you hewouldn’t be long. You finish up.
She puts a clean wipe into Kelly’s hand and leaves her tocarry on in a weak and halfhearted manner, as she heads tothe door.

63.

293

EXT. KELLY’S FLAT. DAY.

293

At the door. Lena Muller opens it, expecting to see
Hayward...
But it’s Roly. He’s not expecting her, either.
ROLY
Does Kelly Fox live here?
LENA MULLER
Sorry.
Lena flashes him a perfunctory half-smile and moves to closethe door.
He stops it, and shouts past her into the flat.
ROLY
Kelly! Are you in there?
DAVY (O.S.)
Dad!
That’s blown it. Roly pushes his way in.
The door is kicked back to slam in our face.
293A

EXT. STREET. DAY.

293A

Gifford’s Range Rover turns in under some bunting and a signthat reads, CARS BOUGHT FOR CASH.
294

EXT. KELLY’S FLAT. DAY.
Later.
Hood and Rachel approaching on the access deck.
HOOD
Do I annoy you sometimes, Rachel?
RACHELOh, Hood. As if.
HOODThat’s a yes, really, isn’t it?
She doesn’t reply -- she’s double-checking numbers on the
doors as they pass.
HOOD
I’m going to take that as a yes.

294

64.

RACHELIs this the one?
The door’s wide open.
Hood starts forward, but Rachel stops him with a light handagainst his chest.
Makes a finger-against-lips gesture for silence and thenpoints to a spot at a safe distance from the door.
Hood retreats to it without question. Rachel doesn’t take out
her gun, but unbuttons for quick access as she goes in.
We stay with Hood. Watches the door, looks all around.
Rachel comes out, less tense, taking out her phone.
RACHEL
She’s not here. The boy’s in his
playpen. And there’s a man with apair of surgical scissors in his
neck.
HOOD
Dead?
RACHELNot too happy about it.
Hood goes in as Rachel speaks into her phone.
RACHEL
Ambulance, please.
295

INT. KELLY’S FLAT. DAY.

295

Roly lies on the floor, curled up, scissors jammed deep into
his neck so they’re buried right up to the hilt, panting likea dog.
Hood comes up and crouches by him.
HOOD
Who did this?
ROLY
That old cow. She came up frombehind me.
HOOD
Where’s Kelly Fox?

65.

ROLY
How would I know. Get me theambulance.
HOOD
I’m going to ask you again, andit’s important. Where is she?
ROLY
I can’t feel my legs. Ambulance!
Ambulance!
HOOD
When you tell me.
Hood waits.
Roly starts to panic and blubber.
296

EXT. KELLY’S FLAT. DAY.

296

An ambulance siren can be heard somewhere in the distance.
Rachel’s at the rail, watching for it.
Hood emerges and joins her.
HOOD
He doesn’t know where they tookher. But it looks like we’ve got ababy on the way.
FOURTH COMMERCIAL BREAK
297

OMITTED

297

298

OMITTED

298

298aA

EXT. PRIVATE CLINIC. DAY.

298aA

A white house in neat grounds. Hayward’s car stands outside.
Lena Muller is waiting by the entrance as an airport taxi
pulls up.
From the taxi steps Luciano, 40s. The understated prosperityof a successful clinician, the looks and charisma of aprofessional charmer.
Lena Muller accompanies him into the building.

66.

298A

EXT. GIFFORD’S HOUSE. DAY.

298A

A rusty low-rent minicab is pulling away from the house, andas it clears our line of sight we see Gifford walking toward
the door.
299

INT. GIFFORD’S HOUSE. DAY.

299

Gifford comes into the main room. He doesn’t see Rachel
waiting behind the door, but we do.
She reaches out and closes it just as he’s realising that
Hood’s in the room.
He looks this way and that, momentarily wrong-footed. Then...
GIFFORD(pissed off)
Oh, great.
HOOD
You know what’s happening today.
GIFFORDYes I do.
HOOD
Then tell us where they took Kelly
Fox.
GIFFORD
Forget it. You’re not going tointerfere.
HOOD
Look. I know you think I don’t
understand what you’re going
through. Where’s your wife?
GIFFORD
Don’t think you can get it out ofher. She left me.
HOOD
I think I can guess why.
GIFFORD
Because I’m obsessed. All right?
What of it?
HOOD
Mine died two years ago.

67.

GIFFORDI’m sorry.
HOOD
So am I. I had to nurse her throughher last illness, and every single
day of it I’d find some little sign
to let me think she might getbetter. Do you think I don’t havethe same dreams as you? There isn’t
a day goes by when I don’t wish her
back.
GIFFORD
Don’t tell me that’s the same! I’m
sorry, but it isn’t. One of you
dies first, it’s sad but that’s thedeal. Try losing a child! Because
that’s the day you die too. You’re
all rotten and dead on the inside,and the outside’s just a shell thatwalks around. Your life is over but
the pain goes on.
HOOD
That’s grief. It’s natural.
GIFFORDI know, and they call it the pricetag on love. Well, I don’t accept
it!
HOOD
What’s your answer, then? Because
what you’re trying can only make itworse.
GIFFORDNot possible.
HOOD
Don’t make me prove it to you.
GIFFORDI’m going to see my son again andthere’s not a thing you can doabout it.
Hood stops.
He’s reached the end of his road. He’s given it his best
shot, but it’s clear to him now that nothing he says is goingto make any difference.

68.

He meets Rachel’s eyes. A barely perceptible lift of hishead, which sets her moving.
HOOD
Just remember that I didn’t want it
to come to this.
GIFFORDAll right, then. What’s coming now?
Rachel moves to Hood’s side. We now see that she’s brought in
one of the cardboard evidence boxes, which she gives to him.
HOOD
You want to see your son again.
Hood holds the box up in front of Gifford and opens the lid.
For a moment Gifford doesn’t understand what he’s looking at.
HOOD
This is just one of them. They’re
still finding more.
Then he understands, but he can’t quite believe that Hood
would do this.
In the end he just stares down into the box, blank withshock.
Hood moves around beside him and speaks with persuasive
urgency.
HOOD
Even if he survived the damage,this would never be the boy you
knew. He’d be some other, different
child.
Gifford raises his gaze to stare at Hood.
HOOD
What price your little angel now?
Gifford looks back into the box. He’s broken now, and about
to fall.
HOOD
I can’t speak for the child that’s
being born. But the girl who’s
carrying him will die if you don’t
help me.

69.

300

EXT. PRIVATE CLINIC. DAY.

300

Hood’s car comes tearing down the driveway and halts in frontof the entrance.
Hood jumps out. Right there before him is Hayward’s car with
its crudely-repaired windows.
As Hood and Rachel head into the building, Lena Muller isjust emerging.
Without knowing who she is, Hood stops to speak to her.
HOOD
Do you know where they put theteenaged mother who came in today?
LENA MULLER
I’m sorry. I don’t work here.
Hood and Rachel head on in.
Lena Muller turns her head to watch them. She has the eerie
calm of someone who’s seen that it’s the time to cut and run,and can do so without doubts.
Taking a breath and settling her shoulders, she turns andwalks off up the drive.
301

INT. PRIVATE CLINIC. DAY.

301

It’s tasteful and expensive-feeling but it’s more like asterilised country hotel than any kind of a modern hospital;
no-one on reception, and empty corridors. Fresh flowers in
the foyer, the odd antique.
We go with Hood and Rachel move through, looking into rooms
as they pass...
RACHEL
Where is everyone?
HOOD
I know this kind of place. You pay
top whack for a skeleton staff andthe part-time attention of amoonlighting consultant.
RACHELYou speak from experience.
HOOD
I do.

70.

Hood’s spotted an auxiliary emptying bins in one of therooms.
HOOD
Hey, Miss. You.
She looks somewhat intimidated as Hood comes bearing down on
her.
HOOD
I need your help.
302

INT. PRIVATE CLINIC. DAY.

302

The auxiliary leads Hood and Rachel through a doorway andpoints them at the treatment rooms.
303

INT. PRIVATE CLINIC TREATMENT ROOM. DAY.

303

Hood bursts in to find...
There’s a man in shirtsleeves, sleeves rolled up, end of his
tie tucked into his shirt, performing two-handed pressure
heart massage on an inert Kelly Fox. Fifteen quick
compressions and then one squeeze of the oxygen bag. She’s
bled out badly on the table.
HOOD
What happened?
LUCIANO
Her blood pressure dropped and herheart stopped beating.
HOOD
Her name’s Kelly Fox. Is there
anything I can do?
The man looks up, and their eyes meet.
LUCIANOYou can get the oxygen. When I
stop, squeeze the bag and give her
a breath. (Looks at Rachel) If you
want to be useful, find a duty
doctor.
She goes. Luciano drops to five compressions, then nods to
Hood for a squeeze of the bag.
HOOD
How long’s she been like this?

71.

LUCIANOLong enough. Keep squeezing until
you see her chest move.
304

INT. PRIVATE CLINIC. DAY.

304

Rachel races through the corridors, flinging open doors.
RACHEL
Police emergency!
305

INT. PRIVATE CLINIC TREATMENT ROOM. DAY.
Both men working on Kelly.
HOOD
What about the baby?
LUCIANO
Dead. It was dead when I got here.
HOOD
It kills me to say it, but I countthat as a blessing.
LUCIANO
Shame on you. Every child is a giftfrom God.
HOOD
God was looking the other way when
this one got its start.
When I find the man who put it
there, he’s going to suffer.
Luciano abruptly ceases the heart massage and crosses theroom to where his jacket hangs on a chair.
HOOD
What are you doing?
LUCIANOYou need to take over.
He’s pulling on his jacket as he heads for the door.
HOOD
Don’t just walk away from her!
LUCIANO
Five compressions. Then one breath.
And he’s gone.

305

72.

Hood moves around the table. She’s lying there and he has noidea.
He begins two-handed heart massage, imitating Luciano as best
he can. Five compressions, then a squeeze on the bag.
306

OMITTED

306

306aA

INT. PRIVATE CLINIC. DAY.

306aA

Rachel turns a corner and finds...
Sidney Hayward, struggling to manoeuver a trolley through adoorway.
Their eyes meet.
SIDNEY HAYWARD
I’ve got the crash trolley. Find me
a nurse.
306A

INT. PRIVATE CLINIC TREATMENT ROOM. DAY.

306A

Hood operating the oxygen. All the way through this, Kelly’s
made no response or shown any sign of life.
And now Hood lets the mask fall aside.
She’s still. Gently, he lays his hand against her cheek.
On Hood -- the wrench as, in his heart, he lets her go.
307

INT. PRIVATE CLINIC. DAY.

307

Rachel’s flying at us down the corridor with a Sidney Haywardand a uniformed nurse driving the trolley along behind her.
308

INT. PRIVATE CLINIC TREATMENT ROOM. DAY.

308

It’s all over.
Kelly still lying in the same position on the table.
Hood by the window, head bowed in dejection.
Rachel bursts in and holds the door open for Hayward and thenurse to push the trolley through.
Then she moves to Hood. We’re aware of Hayward and the Nurse
attending to Kelly, but our focus is on Rachel as she lays atentative hand of consolation on Hood.

73.

Then...
SIDNEY HAYWARD(to Nurse)
She’s got a brady. Do the airway.
I’ll get some atropine into her.
Hood perks up and the weariness falls from him as
understanding dawns.
RACHEL
What’s a brady?
SIDNEY HAYWARD
Faint irregular heartbeat. Where’s
Luciano?
Hood’s still taking in the first revelation.
HOOD
How would I know?
SIDNEY HAYWARD
He wanted to be present for thebirth.
Hood takes a moment to absorb this.
Then he turns to the window and rips the blind aside.
308A

EXT. PRIVATE CLINIC. DAY.

308A

Looking down from the treatment room’s first floor window
onto the forecourt before the entranceway.
A black cab stands there with Lena Muller holding the door
open.
Luciano crosses to it.
As he’s about to get in, he turns and glances up.
Angle on Hood, looking down from the window.
Closer on Luciano -- his eyes lock with Hood’s and then heturns to get into the cab.
Angle on Hood -- he vanishes from the window.
308B

INT. PRIVATE CLINIC/ EXT. PRIVATE CLINIC. DAY.

308B

We go with Hood as he races down the corridor, out throughthe entranceway, and onto the empty forecourt...

74.

Where the cab is long gone.
309

OMITTED

309

310

INT. HOSPITAL WARD. DAY.

310

The visitor area. Kelly’s up and about in a dressing-gown but
she’s bearing all the marks of the rough time she’s had.
Hood’s with her. Rachel waits a few yards off.
KELLY
They said if I was interested, I
could help some poor couple who
couldn’t have a baby and make somemoney at the same time. I canimagine why they picked on me.
HOOD
Young, fit, one pregnancy and nocomplications.
KELLY
More like a teenaged slapper who’dbeen knocked up once already. You
can’t spoil damaged goods.
HOOD
I’m really sorry, Kelly.
KELLY
Now they’re saying I can never haveanother kid. I don’t mind. It’s notfair on them. Not in a world like
this.
HOOD
Anyone I can call for you?
She shakes her head... And Hood can see that her attention
has focused on something beyond him.
He looks back and sees...
Davy, entering the ward on the hand of a social worker.
On Kelly -- it’s as if her face is slowly lighting up fromwithin.
Hood can see that he’s now surplus to requirements. He rises
to go.

75.

HOOD
See you later.
Kelly barely acknowledges him, and never takes her eyes off
her approaching son. She pushes herself up in her chair alittle.
Hood withdraws, and Rachel with him.
311

INT. HOSPITAL CORRIDOR. DAY.

311

Hood and Rachel, walking side by side, this whole exchange
played over their backs and on the longest lens we can getaway with.
Hood’s posture gives away his mood.
RACHEL
What’s the matter, Hood? You did
well. You saved a life.
HOOD
But I didn’t get him.
RACHEL
Proud of you anyway.
They walk on.
312

OMITTED

312

313

INT. MILAN CONSULTING ROOM. DAY.

313

On the soundtrack, a long low ominous note that tells us it
ain’t over yet.
A well-manicured hand slides some pictures across a desk.
They’re all interview shots of young women around 19 or 20.
LUCIANO
These are the girls. All young andhealthy. This time I’m very
optimistic.
Luciano sits back. He’s in an executive chair in a niceoffice. Obviously on his home territory.
LUCIANO
Soon, very soon, you will beholding your son in your arms. I
can guarantee you, there will be no
feeling in the world like it.
(MORE)

76.
LUCIANO (cont'd)
This time the signs just couldn’t
be better.

And now we see who’s looking at the pictures.
It’s Gifford.
Who no longer has the excuse of his ignorance, but is driven
to go ahead anyway.
A man who knows what it is to be damned.
END CREDITS