Luther s1 Ep5

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EXT. CARRODUS HOUSE - DAY 14 - 07.471 1

A BELGRAVIA MANSION.At the kerb - a LARGE VAN markedCOOPERVILLE INTERNATIONAL FINE ART MOVERS.

TWO REMOVAL MEN in COOPERVILLE POLO-SHIRTS are nailing a

PAINTING into a CRATE.

Job done, they hoist it and carry it to the van.

The owner of this house, JAMES CARRODUS watches the lastpainting leave from his balcony. Satisfied. Job done.

He turns and enters the house.

OMITTED: SCENES 2 & 3 INC.2/3 2/3

INT. CARRODUS HOUSE - DAY 14 - CONTINUOUS4 4

..in to a PALATIAL, CAVERNOUSLY EMPTY ROOM. Carrodus shuts thedoor. Its very empty in here.

CARRODUS(calls)

How you doing in there?

INT. CARRODUS HOUSE, BATHROOM - DAY 14 - 07.475 5

JESSICA CARRODUS is clutching her stomach, looking queasy.

She eats a number of anti-diarrhea tablets, washes them downwith copious amounts of water. Yeuch.

JESSICAIll be fine. Did they go?

INT. CARRODUS HOUSE, HALLWAY - DAY 14 - 07.476 6

CARRODUSAll gone.

Jessica exits the bathroom and meets him. A moment betweenthem. This is a big day. Excitement in the air.

INT. CARRODUS HOUSE, LIVING ROOM - DAY 14 - 07.497 7

Jessica and Carrodus. Their LUGGAGE. An echoing room.

CARRODUSYou sure youve got the passports?

JESSICA(pats pocket)

Ive got the passports.

CARRODUSShow me the passports.

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Rolls her eyes - shows him the passports. He relaxes. Shesmiles. Kisses him. It starts fondly - becomes passionate.

JESSICAOne last time? Say goodbye to thehouse?

He grins through the kiss. Meaning yes. Undoes her top button.


A smaller MOVING VAN pulls up, same livery as the COOPERVILLEvan. THREE REMOVAL STAFF ALSO in COOPERVILLE POLO-SHIRTS,sunglasses and baseball hats. Two men, one woman.

Theyre not removal men. Its DANIEL SUGARMAN, EVANGELINE NIXONand TOM MEYER...and theyre very bad people.


Carrodus disengages from Jessica, goes to the window. Sees theTHREE REMOVAL MEN walking towards the house.

Meyer gives him a JAUNTY WAVE. Carrodus waves back, turns toJessica, laughing ruefully -

CARRODUSI dont believe it.

The doorbell rings.

JESSICADid you give them a tip? Maybe theyjust want a tip.

CARRODUSI gave them a tip. This is a differentlot.

Jessica re-buttons, giggling as Carrodus walks to the door.

INT. CARRODUS HOUSE, HALLWAY - DAY 14 - 07.5010 10

Carrodus opens the door. Meyer smiles a greeting.

- THEN PRODUCES A COSH AND BURSTS IN, SHOUTING.

MEYEROn the FLOOR! ON THE FLOOR NOW!

Carrodus is no coward. He fights back - but the attack comesfrom an unexpected direction - Evangeline hits him with theBUTT OF A GUN -

Then calmly walks into the living room and pulls the GUN on the

terrified Jessica.

LUTHER by NEIL CROSS Episode 5 Page 2.

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Meyer shoves Carrodus into the living room, dishevelled, a lineof blood running down his temple.

Finally, Sugarman enters.

What little of his face that can be seen under his hat and

sunglasses is COVERED WITH A BRUTAL, ELABORATE TATTOO:aPolynesian style moku. It makes him terrifying, monstrous.SUGARMAN

James Carrodus. Dealer in fine art.Quite the reputation - but not abovethe odd privately brokered deal,selling fakes to Russian billionaires

who dont know better. This cash wasliquefied in the form of eighteen cutdiamonds of outstanding quality.Because thats the best way to carry

serious wealth.

Carrodus swallows. Nods.

SUGARMAN (contd)Youre off to start a new life in Rio

with Jessica, here. Your lovely newwife. The limo arrives in, what?Fifteen minutes?

CARRODUSTen.

SUGARMANYou can both be in that limo. All youneed to do is give me those eighteendiamonds.

Jessica gives Carrodus an ABSOLUTELY TERRIFIED GLANCE. Heswallows. Can hardly bear to say the words.

CARRODUSI dont have them.

INT. CARRODUS HOUSE, LIVING ROOM - DAY 1410A 10A

Montage of suitcases being cut apart.

SCENE 11 OMITTED11 11


CARRODUS AND JESSICA are handcuffed with cable ties. Meyerlooks up from the final, eviscerated suitcase. Shakes his head.

MEYERNothing.

CARRODUSI sent them ahead. Courier.


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SUGARMANNow, see. I dont believe that. Butyou know what? I dont care. So heres

what we do. Youve got two hours. Yougo get them. Wherever they are.

CARRODUSThat cant be done. It just cant. Imsorry. I sent them via a secure route.

SUGARMANYou go get me that money, or Im goingto start slicing bits off your wife.

Reaches into his pocket. Produces pliers.

CARRODUSAll right! All right! Ill try!

SUGARMANHmmm. Try not. Do, or do not. There isno try.

MEYERYou want me to go with?

SUGARMANAnd let everyone see your face? Whatan excellent idea. Maybe wear a name-tag, too?

(to Carrodus)In two hours, lets call it 10:15,Ive got eighteen diamonds in myhands. Or we start cutting lovelyJessica. At this point, youll beasking - is he bluffing? So youllappreciate, its in my interest toprove that Im not.

(opens the PLIERS)Apologies in advance, Jessica.

On Carroduss face - and Meyers face - appalled - asEvangeline GRABS JESSICA - Jessica struggles - and SUGARMAN

STEPS FORWARD -

INT. SHORT LET APARTMENT, LIVING ROOM - DAY 14 - 08.1613 13

Bill Winingham, in pyjamas, sitting on a pull-out bed, picks upthe phone. Sees the name JAMES CARRODUS. A moment of alarm,then he answers.

WININGHAMJames? Whats wrong?


Carrodus in a panic as he hurries away.


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CARRODUSBill, where the hell are you? Yourenot at the office, youre not -

INTERCUT WININGHAM and CARRODUS

WININGHAMWhats the matter?

CARRODUSYou know policemen -

Winingham pauses.

CARRODUS (contd)For Gods sake Bill, I need the nameof a copper I can trust, and I need itNOW -

INT. SCU, LUTHER AND REED'S OFFICE - DAY 14 - 08.3315 15

Luther roots around in his bottom drawer. Until he finds AFRAMED PHOTOGRAPH OF ZOE. He smiles, sets it down on the desk,picks it up again, blows dust from it. Sets it down. Then turnsto some paperwork on GRAHAM SHAND.

INT. MARKS HOUSE, LIVING ROOM - DAY 14 - 08.34 (FORMERLY SC. 11)15A 15A

Zoe and Mark. Hes dressed, shes not. Theres evidence thatsomeone slept on the sofa the previous night. Hes got anOVERNIGHT BAG at his feet. Hes holding her hands.

MARKI do understand. Hes your husband.

ZOENo. No, hes not.

MARKJust let me say it - let me get itout, then its said and done. BecauseIm not going to have thisconversation again. So I need to say

it.(she nods)

So thats why Im going away for a dayor two. To give you room to think.

ZOETheres nothing to think about.

MARKYes there is. If youve decided tostay with me - therell be norecriminations. No blame, no tantrums.

We pick up where we left off, and wecarry on.


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ZOEBut -?

MARKBut you never see him again. I meannot ever. No phone calls. No emails.

Nothing.

ZOEThats pitiless.

MARKIts necessary - for me. Because Icant have you doing this to me again.I cant.

Zoe cant meet his eyes. Mark picks up his bag and exits.

INT. SCU, LUTHER AND REEDS OFFICE - DAY 14 - 08.3415B 15B

Luther is still at the paperwork. He looks up - at a COMMOTIONON THE BULLPEN. He stands -

INT. SCU, BULLPEN - DAY 14 - 08.3416 16

He joins Ripley, whos standing, too. As JAMES CARRODUS walkson to the unit, accompanied by a uniformed officer.Dishevelled, shocked.

Ripley and Luther approach.

LUTHERSir?

Carrodus blinks, back to reality.

CARRODUSIan Reed? I need to see Ian Reed.

LUTHERIm afraid DCI Reed is elsewhere.

(off Carroduss bewilderedhesitation)

Im DCI John Luther, I share an officewith Reed, this is DS Justin Ripley.How can we help?

Carrodus gives Ripley a SMALL COTTON PACKAGE - a handkerchief.Once white. Now stained red. Ripley takes it. Opens it.Something red inside.

CARRODUSIts her tongue.

Out on Ripleys horror - as, instinctively, he nearly drops the

bloody rag.


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INT. FARMILOES, FIRST FLOOR OFFICE - DAY 14 - 08.5517 17

Sugarman, Meyer and Evangeline enter the SAFEHOUSE, shovingJessica. She has a PILLOWCASE over her head. Blood-stainedround the mouth. She cant speak. She huddles in the corner.Hugs her knees. Terrified. Hands cabled-tied.

On the table, Sugarman dumps a LARGE FORMAT MAP OF LONDON(opened to show WESTFIELD, SHEPHERDS BUSH).

MEYERYou sure you want to play it this way,Dan? Its pretty hard-core. The policeget involved. I mean, kidnap, its -

Meyer shuts up under Sugarmans STILL, ICY GAZE.

SUGARMAN

Did you just use my name in front ofthe victim...Tom?

ON MEYER:suspecting hes just condemned Jessica to death.Then Sugarman as he rolls his eyes. Produces a pack of BABYWIPES - and begins to clean the FAKE TATTOO from his face.

INT. SCU, INTERVIEW ROOM - DAY 14 - 09.0118 18

Luther and Carrodus - whos a wreck.

LUTHERJames, the fact of it is - mostkidnappings never come to ourattention. When loved ones are atrisk, people tend to pay up prettyfast.

CARRODUSYou think I dont want to do that? Youthink I dont want to just give them

what they asked for and get my wifeback? Do you think that?

LUTHERI just need to understand whatshappening.

CARRODUSI came to you because I havent got

what they want - and Ive got no wayof getting it.

Luther is careful not to react. Waits for the rest of it.

CARRODUS (contd)

Diamonds are portable. No serialnumbers, no provenance. But they doshow up on baggage X-rays.


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LUTHERWhat are you saying?

CARRODUSJessica swallowed them. The diamondsare inside her. Right now. If Idve

told them that, theyd have cut heropen on the spot.

INT. SCU, BULLPEN / EVIDENCE ROOM - DAY 14 - 09.0819 19

Luther and Teller are gathered. Reed enters, flustered, stillwearing his coat.

REEDSorry.

Luther hands a MUG-SHOT to him. It shows -

REED (contd)Yeah, thats Bill Winingham.

TELLERHe sent Carrodus directly to you.

REEDYeah?

TELLERHow well do you know him?

REEDPretty well. Hes a money launderer,basically. Bit of a gent, as ithappens. Never mixed up in anybloodshed, not to my knowledge.

LUTHERThing is, though - it was Winingham

who procured the diamonds for Carrodusin the first place. And hes the onlythird party who knows they exist. Ifanyone set this thing up, hes our

man.

REEDBut that cant be right. If hesimplicated, why send the victim inthis direction?

TELLERWell - if its not Winingham, its gotto be someone he mouthed off to.

REED

I dont see it. It doesnt work.


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TELLEREither way, we need to speak to him.

LUTHERRipley's out there now. Turns out,nobodys seen Winingham for days.

Beat.

TELLERSo we cant find the sole lead?

LUTHERNot in time. The kidnappers want theransom in just over an hour.

TELLERAnd you think theyll make good on

their threat?

LUTHERAbsolutely.

Reed winces. Luther gives him a look - you okay? Reed nods -yeah, Im fine.

REEDLook, Bill knows me - so do hisfriends and family. You want me to goout, see if I can round him up, see

what the hells going on?

TELLERYeah, see if you can do that.

Reed exits.

TELLER (contd)So. They wont give us what we want.We cant give them what they want.

LUTHERNot give it, no. But we could lend it

to them.

TELLERMeaning?

He coaxes her towards the evidence room as they speak.

LUTHERWe visit the evidence safe.

TELLERDont want to hear it.


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LUTHERThese are special circumstances.Normal rules dont apply.

TELLERChain of evidence is like the Ten

Commandments; it applies unto time andall eternity. Anything in the evidencesafe is sacrosanct. We tamper, we riskvoiding active cases.

LUTHEROnly if we get found out.

TELLERAm I actually having thisconversation? Are you actually sayingthis to me?

LUTHERBoss, unless weve got some securityto work with, Jessicas going to die.

TELLERIf I start stealing evidence -

LUTHERBorrowing -

TELLER- if I start borrowing evidence to usefor my own purposes -

LUTHERIt wont be out of sight. Not for asecond.

(passes a photo of Jessica)One hour.

Out on Teller at the door of the evidence room. Oh, holy shit..

INT. SCU, EVIDENCE ROOM - DAY 14 - 09.3020 20

Teller opens THE SAFE. Roots around inside. Takes out anEVIDENCE BAG. Hesitates. Am I really doing this?

She is. She closes the door, sneaks out.

INT. MARKS HOUSE, KITCHEN - DAY 14 - 09.3121 21

Zoe at the window. Looking out at the indifferent world. Shedials.

ZOEJohn?


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Luther answers, en route to the interview room.

LUTHERBabe?

INTERCUT ZOE and LUTHER

ZOECan I see you?

LUTHERYeah, absolutely. Of course. I justneed to sort a few things out. Stuffgoing on here.

ZOE

Okay. But I really need to see you. Itneeds to be today.

LUTHERMe, too. Ill call you the second Ican. Promise.

He hangs up. A moment of happiness. He walks on. Leaving Zoestaring out the window.


Luther enters, sets a plastic BAG on the table. It contains anumber of DIAMONDS.

CARRODUSLook, I appreciate the effort - butthese people want something veryspecific, eighteen diamonds of aparticular size, quality and value.

LUTHERYeah, well. This is the best we cando.

CARRODUSIts not what they want -

LUTHERJames, you need to understand, unless

we find a way to open channels ofcommunication with the kidnappers,theyre going to kill Jessica. Nottomorrow, or the next day.

Grabs Carroduss wrist, points to the hour hand on his watch.

LUTHER (contd)But before this hand gets...here.


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He lets go the hand.

LUTHER (contd)You deliver these diamonds. But youllinclude a note. It says, give meJessica, you get the rest.

CARRODUSThey wont go for that.

LUTHERNo, they wont. But well have giventhem a good reason to keep Jessicaalive a bit longer - and well have

made our first contact. Once weveachieved that, we can work on the nextstep.

Carrodus considers the diamonds.

CARRODUSHow much are these worth?

LUTHERDunno. Three and a half million?

Carrodus winces. Looks at his watch: the hour hand, advancing.

EXT. SHORT LET APARTMENTS - DAY 14 - 09.4024 24

ESTABLISHING a MODERN BUILDING. A sign advertises SHORT LET -EXECUTIVE APARTMENTS. Reed walks in to the building.

INT. SHORT LET APARTMENTS, CORRIDOR - DAY 14 - 09.4025 25

Reed walks down the corridor, knocks on the door. A beat, andit opens -

On BILL WININGHAM!

Now dressed, sees Reeds furious face - oh, shit - and tries toslam the door. Reed kicks it open. Barges his way inside.


Reed advances on Winingham.

WININGHAMIts not my fault!

A beat, then Reeds rage subsides - but the panic and the senseof helplessness doesnt.

REEDBill, how did this happen?

WININGHAMI dont know!


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REEDLook, we all know the rules! You rob athief of stolen money, he thinks of itas cost of business! Hes not going tothe police, nobodys hurt, noinnocents are involved! Thats the way

these things have worked since I was awoodentop. But this is KIDNAPPING!They took his wife! They cut out hertongue!

WININGHAM(beat)

Sweet Mary.

REEDSo what happened?

WININGHAMI dont know. All I know is, they weresupposed to call with the all-clear.Ive heard nothing.

REEDWho organised the job?

WININGHAMTom.

REEDTom who?

WININGHAMMeyer. My nephew. Hes a good kid.

REEDSo where are they now?

WININGHAMI dont know.

REEDThats not good enough.

(off Winingham's hesitancy)Okay, look. You need to forget aboutthe money. The moneys gone. The moneydoesnt matter. You need to tell me

what you know. Who did your nephewrecruit for the job?

WININGHAMSome American he hooked up with overthere. He was at school. Hes a cleverboy. Hes a smart boy - he wouldnt -

REEDSome American. Thats it?


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WININGHAMI DONT KNOW WHERE THEY ARE! TheAmerican said NO PHONES! NOCOMMUNICATION OF ANY KIND!

(Beat)He said to maintain radio silence. It

was his idea that I hide out here forthe duration.

Reed pinches his nose. Takes a breath.

REEDTheyre going to kill her, Bill. And Icant be responsible for her death,not because the chance to make a feweasy quid went wrong. I have to makesure she gets through this, all right?Do you understand me? Whatever it

takes, I have to get her through this.

WININGHAM(dismayed pause)

Agreed.

REEDSo I wait here until Tom makescontact. Lets hope its soon.


Luther and Carrodus. Waiting. Great tension. Benny and Ripleysit in front of screens, waiting to trace the call.

Carroduss PHONE RINGS - and so does the CLONED MOBILE PHONELuther has before him.

A beat. Luther catches Carroduss eye - silently counts downfrom three to one. They pick up together.

SUGARMAN (O.S.)Do you have it?

CARRODUS

Yes.

SUGARMAN (O.S.)Westfield Shopping Centre. CentralHall. Twenty minutes.

CARRODUSTwenty minutes? I cant make that - Ineed -

Sugarman hangs up. Carrodus looks at Luther. This is it.


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INT. WESTFIELD, CENTRAL HALL - DAY 14 - 10.3528 28

Lost in all the CROWDS is RIPLEY, TWO plain clothed CID andLuther who paces as he makes a call.

LUTHER

(on phone)You all right, mum? You left a

message. You need something?


Benny monitors the crowds. Teller hovers anxiously at hisshoulder, phone at her ear.

TELLER(on phone)

Well, I need you to stop calling me

mum, for a start.

INT. WESTFIELD, CENTRAL HALL - DAY 14 - 10.3530 30

Luther grins. Seems completely unaware of -

JAMES CARRODUS arriving in the middle of the hall. Sweaty,anxious. Checking his watch. Is he in time?

LUTHERYou there, mum? Youre breaking up alittle bit.

INTERCUT WESTFIELD with TELLER and BENNY AT THE SCU

TELLERStill here. Weve got him.

LUTHER continues to pace.

LUTHEROkay. So what exactly do you want -the ones for smelly feet? Or the onesthat make you look a bit taller?

BENNY leans in to his screen

BENNYOkay. Right. Here we go, people.Whats this - ?

What Bennys seeing is -

A HOODIE SWAGGERING through the crowds - he SHOULDER-BARGESCarrodus - and in the MOMENT OF CONFUSION THAT FOLLOWS heshoves a PIECE OF PAPER into Carroduss hand. Then he strideson, not looking back.

Carrodus is startled. He follows the hoodie with his eyes -


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- as the hoodie walks away. Passing within a few feet ofLUTHER, who continues his phone conversation.

LUTHERYou there, mum? Youre breaking up alittle bit.

He watches through the corner of his eye as -

RIPLEY peels from his position, following the hoodie.

RIPLEYIm there.

CARRODUS passes Luther without a glance - walks towards a FOODSHOP. Buys a PASTRY. Moves on.

Only then does Luther follow. Moving through the crowds.

Keeping 50 metres between them, maybe more.

RIPLEY follows the HOODIE round the corner. Where he joins ABUNCH OF TEENAGERS. Who begin to laugh, shove each other,execute complex TEENAGE HANDSHAKES, joke around - in ITALIAN.

Theyre tourists.

RIPLEY (contd)You on this bloke, Benny?

BENNY glances at a SECOND MONITOR

BENNYLike a wasp on a waste bin.

RIPLEY turns away, maintaining cover.

RIPLEYHave uniform pick him up. Hes nokidnapper. Just some poor sap paidtwenty quid to give Carrodus thatnote.

BENNY taps in that request.

BENNYWilco.

He turns his attention back to the screen which shows -

INT. WESTFIELD, DROP POINT - DAY 14 - 10.3730A 30A

CARRODUS stopping near a certain REFUSE BIN. He reaches intohis pocket. Withdraws the PLASTIC BAG containing the diamonds.Stands there.

Calculating. Sweat on his upper lip.

LUTHER turns his back to avoid staring.


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LUTHERMum, you watching this?

TELLER (O.S.)Im watching.

LUTHERWhats he doing?

TELLER leans closer to the screen.

TELLERBenny, whats he doing?

BENNYI dont know. But we dont like it.

CARRODUS is making his mysterious calculation. Muttering to

himself under his breath.

LUTHER turns, casually, watches through the corner of his eye.

ELSEWHERE IN THE CROWD

Stand Meyer and Evangeline. Theyre watching Carrodus too.

SOMEWHERE ELSE IN THE CROWD

Stands Ripley and elsewhere the CID officers. Theyre watching,too.

Everyones watching -

As Carrodus AGONISES. Then BUNDLES UP THE PLASTIC BAG AND THEPASTRY and stuffs it into the bin.

He walks quickly away, spine erect.

BENNY (O.S.) (contd)Okay, hes made the drop.

LUTHER Waits. Phone at his ear.

RIPLEY watches the drop point.

MEYER AND EVANGELINE break away from the crowd, head for thebin.

RIPLEY(on phone)

Okay, Ive got eyeball on two liveones. One male, one female (describesMeyer and Evangeline on the day)

LUTHER

Yeah, got them.


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MEYER and EVANGELINE approach the bin. Meyer watchesEvangelines back as, keeping an eye out, she crushes an EMPTYJUICE CARTON - drops it in the bin - then pats her pockets -searches in her bag to show shes lost something - thencasually reaches into the bin.

Withdraws the package Carrodus left there - nods at Meyer: gotit.

They walk on. Evangeline checks left and right. Then checks outthe bag. And sees -

A PASTRY. Nothing else.

EVANGELINESon. Of. A. Bitch.

ANGLE ON RIPLEY

RIPLEYShes not happy. Somethings wrong.

EVANGELINE drops the pastry - hurries back to the bin -rummages - oblivious of curious onlookers.

MEYERWhats wrong?

EVANGELINENo diamonds.

MEYERWhat do you mean, no diamonds?

EVANGELINEI mean, run the bastard down. Go! Go!

A beat, then a panicked Meyer sprints after Carrodus.

Evangeline steels herself. Produces her phone.

LUTHER races after Meyer, still on the phone.

LUTHERJustin, if she makes that call,Jessicas dead!

RIPLEY sprints through the crowd - Evangeline sees him coming,turns and runs. Ripley gives chase, he catches her, bringingher down amidst a coffee area. He twists her wrist between hershoulder blades, wrestles her phone from her hand - shoves herface-first into the floor. Reaches into her bag, removes aHANDGUN.

RIPLEY

Youre under arrest for possession ofan illegal firearm.


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You do not have to say anything, butit may harm your defence if you do not

mention when questioned...

LUTHER races after Meyer - powering through the crowds.

But there are TOO MANY EXITS, too many PEOPLE - too many wayshe could have gone - and after making ONE FRUITLESS TURN AFTERANOTHER, he realises its hopeless.

LUTHERBoss! Benny!

BENNY leans close to the mic.

BENNYIve lost him, John. Im sorry.

LUTHER Stops, breathless.


Jessica. Helpless. Chained to an ancient metal grill. Hood on.

EXT. BINNEY STREET - DAY 14 - 10.3932 32

Sugarman checks his watch. Dials a number from memory on hisunique looking Pay-As-You-Go mobile.

EXT. BARRETT STREET, RIPLEY'S CAR - DAY 14 - 10.3933 33

Luther approaches, still a bit breathless. Ripley is shovingEvangeline into the back of the car.

Her phone rings. Ripley grabs it, tosses it to Luther. Whocatches it, answers.

LUTHER(rapidly)

I dont know who you are. I dont knowwhere you are. Youre still in controlhere. So dont hang up.

EXT. BINNEY STREET - DAY 14 - 10.4034 34

SUGARMANProlong the situation. Ensure thesafety of the hostages. Keep thingscalm. Foster relationships betweennegotiator and hostage-taker.

INTERCUT LUTHER AND SUGARMAN

LUTHERI know youre no amateur. Im not

playing you, here. Yeah, well tracethis call, of course we will.


RIPLEY (cont'd)

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But itll take a few minutes to setthat in motion. By the time weve doneit, youll be long gone.

SUGARMANYouve got one minute.

LUTHERCarrodus kept the ransom.

SUGARMANWhat?

LUTHERLast minute calculation. The way hesaw it, Jessica was going to die -even if he gave you the money. So whygive you the money?

SUGARMANSo why involve you?

LUTHERHe wanted all the angles. He knew wedknow how to prolong the game.

SUGARMANWhat did you advise him?

LUTHERTo give you half the ransom up front,keep the other half as collateralagainst Jessicas release. He seemedto go for it.

SUGARMANSo we both lost him.

LUTHERI dont care about him. So listen. We

want Jessica. Thats all we want.

SUGARMAN

No its not. You want to arrest me andsend me to prison.

LUTHEROf course I want that. But its not anoutcome I can expect, not from thisset of circumstances. So Im playingfor Option B. I want Jessica backalive.

SUGARMANWhats your name?

LUTHERJohn.


LUTHER (cont'd)

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SUGARMANRank?

LUTHERDCI.

SUGARMANIf youdve lied to me, John, Idveknown it. And Id have cut her throatand buried her and youd never know

where.

LUTHERI dont doubt it. And you shouldntdoubt that Ill get you what you want.Give me three hours.

SUGARMAN

Ha!

LUTHERI need time. Im not a magician.

SUGARMANGive me a number. Ill call you on it.In one hour.

LUTHERIll need proof of life.

SUGARMANYou wont get it. This is a game oftrust. Can you manage that?

Beat.

LUTHEROkay, take this number.

WE CUT TO SUGARMAN, who finishes writing the number. Ends thecall, removes the sim card and tosses it.

INT. ST CHRISTOPHERS PLACE - DAY 14 - 10.4235 35

Meyer hurrying along, in a panic. Selects a number on hisphone: BILL. He dials.


Bill Winingham's phone rings. He and Reed look up, sharply.

WININGHAMTom?

INTERCUT WININGHAM and MEYER

MEYERUncle Bill, its gone bad.


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A long, nauseated look between Reed and Winingham.

WININGHAMWhat do you mean?

MEYER

No ransom. Hot and cold runningpolice.

REEDShit.

MEYERThey nicked Evie. Daniels lost it. Hecut out that womans tongue with apair of pliers! If I go back to himempty-handed, no diamonds, no Evie -

Reed gestures, aggressively - I need to talk to him now.

WININGHAMTom, Ive got someone here needs totalk to you, okay? Dont panic. Hes afriend.

MEYERA friend? God, Bill! Whos there?

REED(snatches the phone)

Okay, Tom. You need to listen to menow. Are you listening?

MEYERWho are you?

REEDARE. YOU. LISTENING?

Beat.

MEYERYeah, yeah! Im listening.

REEDWhere are they keeping her?

MEYERIm not telling you that. Who are you?

Reed thinks hard and fast. Reasons it through.

REEDTom, you can still get out of this

with the money. Do you understand?

MEYERNo, no I dont get it.


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REEDThe woman. Jessica Carrodus. She hasthe diamonds. Just get her away from

wherever shes being kept. Get heraway safely and you can have it all.

MEYERBut Daniels psychotic. Hes off hishead.

REEDEvery penny of it, Tom. Five, six,eight million quid? Just get her awaybefore Daniel hurts her.

MEYERI cant do it.

REEDIF YOU DONT DO IT, HAND TO GOD ILLKILL YOU MYSELF.

INT. SCU, LUTHER AND REEDS OFFICE - DAY 14 - 11.1237 37

Luther and Ripley are contemplating the monitors. They showEvangeline in the INTERVIEW ROOM.

Teller enters.

TELLERAnything?

RIPLEYNot a word. No prints on record. Nonothing.

Teller kneads her forehead. Luther stares very intently at thePHOTOGRAPH OF JESSICA. Then at Evangeline.

LUTHERWell, she may not have been ourproblem up till now - but shes beensomebodys. You dont start with

kidnap, you work up to it. Get herdetails to Detective Munch in NewYork. Hes at the Special VictimsUnit.

Ripley nods, exits. Teller takes the moment. Approaches Luther.

TELLER(low and furious)

The evidence wont leave our sightfor a moment?

LUTHERWell get it back.


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TELLERWed better, because right this secondIm peddling thin air like Wile ECoyote.

LUTHER

Im sorry.

Shes about to say something - when they notice ZOE, lingeringin the doorway. Embarrassed.

LUTHER (contd)Boss, can you give us five minutes?

TELLERYou can have two.

(passing Zoe)How are you, good, nice to see you,

byebye then.

And shes gone. Zoe enters, tentative, shuts the door.

LUTHERHey, there! I cant remember the lasttime you came in here -

ZOEIt was a long time back. I need a

moment with you.

LUTHERWell, its a bit mad round here today.Can we meet somewhere, a bit later?

ZOENot really.

And - with a sick, sudden lurch, it dawns on him. He looks ather, aghast.

LUTHEROh, right. I see. Youre safe here.Lots of people around. So I cant make

a scene. Are you really going to dothis to me - here? Now?

No answer. What can she say?

LUTHER (contd)What do you want me to do? Beg? Ivedone that.

ZOEI dont want that.

LUTHERYou want me to ask why?


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ZOEYou already know why.

LUTHERSee, you say that. But I dont seemto. Im thinking really, really hard -

but its just not there.

ZOEMe and you, the last few days. Itsjust been a way of saying goodbyeproperly. I think we both knew that,really. Deep down. I think we knew it,didnt we?

Luther stares at her - outraged - as if seeing her for thefirst time.

LUTHERDo you have any idea whats happeningtoday? In here - to these people?

Shows her a picture of Jessica.

LUTHER (contd)Do you know who this is? Or where sheis, or whats happening to her? Wouldyou like to see her tongue? Ive gotit wrapped up in a hankie, over heresomewhere.

Beat.

LUTHER (contd)Just get out.

ZOEJohn -

LUTHERGET! OUT!

He grabs a LAPTOP from his desk and throws it THROUGH THE

WINDOW which shatters.

And suddenly, the SCU is frozen.

Luther looms over Zoe.

Who gathers her dignity and exits.

Luther gets himself together. Then bellows to the SCU throughthe broken window.

LUTHER (contd)

Clocks ticking. Back to work.

They do.


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EXT. STREET - DAY 14 - 11.1537A 37A

Zoe walks, keeps herself composed. Until she finds a LOW WALL.She sits, digs out her leather tobacco pouch. Tries to roll oneof the cigarettes with shaking hands. Before she can managethat, her face crumples. She begins to sob.

INT. SCU, BULLPEN - DAY 14 - 11.15 (FORMERLY SC. 41)37B 37B

Reed steps on to the SCU. Hes a masterclass in CONTROLLEDANXIETY. He pauses to take it all in. Nobody pays him anyattention. Which is good. It means hes not under suspicion.

He enters the locker room -

INT. SCU, LOCKER ROOM - DAY 14 - 11.15 (FORMERLY SC. 42)37C 37C

And dials.

REED (ON PHONE)Tom? Listen, theres not much time.Get her out of there.

I/E. MEYERS CAR, FARMILOES - DAY 14 - 11.15 (FORMERLY SC. 43)37D 37D

Meyer is parking outside. On the phone.

MEYERYoure not helping. Just shut up andlet me do this.

He hangs up. Gets out the car.

Stands there a second, surveying the ROADS. No sign ofSugarman. He swears to himself. Pockets his phone. Enters.

INT. SCU, LUTHER AND REED'S OFFICE - DAY 14 - 11.3638 38

Luther is tidying some papers on his desk. A REPAIRMAN isfinishing taping plastic to the window. Ripley approaches -hangs back, uncertain.

LUTHER

You speak to Munch?

RIPLEY(hands him a file)

Evangeline Nixon. Long history ofviolence, extortion, suspected kidnap.Married to this man,

(photo)Daniel Sugarman, 36. Even longerhistory. Armed robbery, extortion,kidnap. More than one murder.

LUTHERThats him.


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RIPLEYNo facial tattoo.

LUTHERIts fake. You look at him, its allyoure going to remember.

RIPLEYWhens he due to call?

LUTHER(checks watch)

Four minutes.

Reed enters, looking grim.

LUTHER (contd)Bill Winingham?

REEDNo sign of him.


Luther, Ripley, and Benny - who has his laptop. All watchingthe clock TICK DOWN - until -

Luthers PHONE RINGS.

He nods at Benny - who hits a key.

ANGLE ON THE LAPTOP: AUDIO RECORDING BEGINS.

LUTHER (ON PHONE)Im here.

EXT. PHONE BOX - DAY 14 - 11.4040 40

Sugarman enters the phone box.

SUGARMANDo you have it?

INTERCUT LUTHER AND SUGARMAN

LUTHERMost of it.

SUGARMANMost of it isnt what we agreed, John.Deals off.

LUTHERWait! Wait! What about Jessica?

SUGARMANYou have to get this in your head. Idont care about her.


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If I no longer believe her to be ofsufficient value to you, then hervalue to me diminishes sharply. Rightnow, it seems to me shes verging on

worthless.

LUTHERBut weve got Evangeline. Whats hervalue?

SUGARMANTo you, Evies an asset of verylimited benefit. I know shes safe. Iknow you cant hurt her. I know shesstrong and wont say a damn word about

me. So keep her. Shes not in play,here. Shes just a captured piece.

LUTHERSo what do we do?

SUGARMANBring me the money. Last chance.

LUTHEROkay - I can raise three, maybe four

million. But its going to take time.

SUGARMANYou have one more hour. Final offer.Plus, heres a revised deal, you give

me one hundred per cent of what Iwant, you get back one hundred percent of Jessica. Give me eightypercent of what I want, you get eightyper cent of Jessica. And so on. Take

more than an hour, you never get tofind out how she died or where Idumped her.

Sugarman hangs up.

Luther looks to Benny and Ripley.

LUTHERHow long?

They are already EDITING the SOUND FILE.

RIPLEYTwo, three minutes.

LUTHERMake it two.

Ripley nods - dont distract me.

SCENES 41 - 43 OMITTED


SUGARMAN (cont'd)

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INT. FARMILOES, FIRST FLOOR OFFICES - DAY 14 - 11.4344 44

Meyer sneaks in. And there in the corner is Jessica. Handcuffedto an old table, her feet chained to the radiator. A pillow-case over her head.

He squats, removes the pillow-case. Jessica tries to scream buttheres a bundle of bloody rag in her mouth and tape over it.

MEYERShhh! Shhh! Shhh! Please, pleaseJessica! Im trying to get you out ofhere. Im trying to get you home!

She believes him. Then she doesnt. She screams, squirms.

MEYER (contd)Please! I KNOW THEYRE INSIDE YOU!

She stops. Eyes wide and eloquent.

MEYER (contd)If I dont get you out of here, hesgoing to cut them out. So please.Please. Please. Help me, here. Help

me.

She nods, ardently. Meyer swears to himself and then startslooking round for something that will break the chain.


Evangeline looks up as Luther enters. Plonks down a TAPERECORDER. Looks her in the eye.

LUTHERWe offered Daniel a straight swap.Jessica for you. You want to know whathe said?

Hits PLAY.

LUTHER (ON TAPE) (contd)

Wait! Wait! What about Evangeline?

SUGARMAN (ON TAPE)Evie? You have to get this in yourhead. I no longer believe her to be ofsufficient value. Right now shesverging on worthless. Keep her. Bringme the money.

Luther hits STOP.Then looks into Evangelines eyes.LUTHER

It happens, Evangeline. People betrayeach other all the time.


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Now, I dont have the time or thepatience to be sorry, so this is a one-time offer. You tell me where Danielsstaying, Ill make sure youre lookedafter. Youve got ten seconds. Afterthat, I turn around and walk out and

you never see me again.

He glances at his watch. His eyes lock with Evangelines as -

Ten. Nine. Eight. Seven. Six. Five.

EVANGELINEI want to serve my time in the States.

LUTHERI can arrange that.

INT. SUGARMANS CAR (TRAVELLING) - DAY 14 - 11.4546 46

Sugarman at the wheel. His gun on the seat next to him. Hepresses send on a THREE DIGIT TEXT MESSAGE - 111.


Meyer has found a piece of machinery. He is hammering the chainthat binds Jessica. Jessicas eyes are frantic as he hammers.Fails. Tries again. Almost screaming with exertion.

He gets a TEXT MESSAGE. Curses to himself. Checks the message.

Jessica grunts a question.

MEYERIts the burn code.

Another grunted question.

MEYER (contd)It means hes coming.


Luther strides from the interview room.

RIPLEYIt worked?

LUTHERIt worked.

RIPLEYSo what now?

LUTHER

Jessicas being left alone, at worstshes being guarded by the thirdkidnapper, Tom Meyer.


LUTHER (cont'd)

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They rush out the door - with Teller following close behind.

INT. SUGARMANS CAR (TRAVELLING) - DAY 14 - 11.4749 49

Sugarman at the wheel. His gun on the seat next to him.


Meyer is hammering at the chain. Pretty frantic now - he andJessica cast FRIGHTENED GLANCES at the door, expecting Sugarmanto arrive at any moment.

INTERCUT SUGARMANS APPROACH WITH MEYERS GROWING DESPERATION

Finally, the chain buckles. Meyer cant quite believe it. Onemore heave - and it breaks. Jessica is free!

Jessica and Meyer cry out in triumph. He hugs her. She hugs him

back. He helps her to her feet. They hobble for the door.

MEYERCome on, Jessica. Come on, you can dothis. You can do it. Thats it. Thatsit -

INT. FARMILOES, BASEMENT - DAY 14 - 11.4950A 50A

MEYER and JESSICA make their way through the basement...

EXT. FARMILOES - DAY 14 - CONTINUOUS51 51

... and out into the sunlight - limp to Meyers car. His PHONEIS RINGING. He ignores it, supporting Jessica.

They reach the car! His hands fumble with the keys. He nearlyDROPS them. Opens the door. Helps Jessica into the BACK SEAT,urges her to lie down. Then gets in.

I/E. MEYERS CAR, FARMILOES - DAY 14 - 11.5052 52

Meyer starts the engine - stalls it. Curses. Gets it startedagain. Pulls away. Heading for the exit and beyond it - theroad - and safety!

MEYERAlmost there. Almost there. Almostthere.

He comes closer. Closer. Closer...

Too late!

SUGARMANS CAR TURNS IN.

Both cars STOP. Face each other. Meyers eyes meet Sugarmans.

He sees the dead light in them. Knows theres no talking hisway out of this one.


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Meyer throws the car into reverse - backs it up - towards theSAFEHOUSE -

INT. DIAMOND MERCHANT - DAY 14 - 12.0253 53

James Carrodus enters. Approaches the desk.

CARRODUSI have some diamonds. I wonder if I

might - have them valued?

I/E. RIPLEYS CAR, FARMILOES - DAY 14 - 12.1054 54

Ripleys car pulls up. Ripley, Luther and Teller inside. Reedscar pulls up behind him.

STAY CLOSE ON LUTHER

As he gets out. His face falling.

As he walks forward in a daze, pull back to reveal -

MEYERS CAR.

All four doors are open. Two tyres are flat, making it lookdead and broken. On the bonnet is a HUMAN EAR (MEYERS).

OUT ON LUTHERS DISMAY - AND SLOWLY

FADE TO:

INT. FARMILOES, BASEMENT - DAY 14 - 12.1155 55

LUTHER and RIPLEY squat over JESSICAS BODY. We dont see muchof her. Just a bloody hand, a broken watch, blood-splattered. Ashoeless foot. We focus instead on Luthers compassion - as hecups his mouth with one hand.

RIPLEYYou okay?

LUTHERNo. You?

RIPLEYNo.

ON THE OTHER SIDE OF THE BASEMENT.

REED is with MEYERS BODY. Meyer lies face-down. Reed slips onhis latex gloves.

Looks all around. His POV: Luther and Ripley are talking.Teller is barking into a phone.

Reed reaches into MEYERS POCKET. Withdraws his MOBILE PHONE -the phone that proves Meyer and Reed were communicating witheach other. Makes sure its TURNED OFF. He looks around again.


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Then POCKETS THE PHONE - and stands, squinting. Listening tothe ONCOMING SIRENS of the MAJOR INCIDENT UNIT ARRIVING.

INT. FARMILOES, BASEMENT - DAY 14 - 12.2056 56

Police and SOCO are in evidence. Ripley has wandered away. Hes

standing there, hands in pockets.

Teller, Reed and Luther are leaning against the wall - tired,weary, sorrowful.

TELLERWhat a God Almighty mess this is.

LUTHERShe tried to run. Didn't get far. Hecut her open. Took what he wanted.

(Jesus)

Its funny, really. Theyre just bitsof carbon. Diamonds. They make them infactories, these days.

TELLERSo have we put it together?

REEDBest guess? Jessica sees Meyer as anice guy - her best way out of here.Standard Stockholm response. She letshim know about the diamonds, hedecides to rescue her, maybe keep the

money for himself.

His voice cracks with emotion, then breaks. Worried eyes on himas he struggles to get himself together.

REED (contd)Theyre leaving, Sugarman comes backto check on them. He turns on Meyer.Tortures him until he gives up whatshappening.

He glances at Luther, whos watching him intensely.

TELLERThe only definite link to all this isthe money launderer - Bill whassname.

REEDWiningham.

TELLERSo track him down, throw accessory to

multiple murder, kidnap, extortion. Inthe face of that, hell give it up in

five minutes.

She walks away. Luther turns to Reed.


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INT. SHORT LET APARTMENTS, CORRIDOR - DAY 14 - 13.4558 58

Winingham opens the door. To a tortured Ian Reed. For severalbeats, they just stand there. Staring at one another. ThenWiningham steps aside, allowing Reed to enter.


Reed enters. Sits. Physically and morally worn out.

REEDYour nephews dead.

(off Winingham's reaction)Sugarman cut off his fingers and hisear. Then he gutted Jessica and took

what was inside her.

Winingham runs to the sink - retches.

REED (contd)Do you understand what Im saying?

Winingham splashes his face with cold water. Reed approaches.Turns him round. Holds his shoulders. Face to face.

REED (contd)Tom only did what he did because Itold him to. If Id said nothing, myfriends would have been there in time.Theyd have got to Jessica. Tom wouldbe alive. I made a bad mistake, Bill.I made a really, really bad mistake.

WININGHAM(weeping)

Thats all right, Ian. You didnt meanto. I know you didnt mean to.

REEDNow, I need you to concentrate.Because I have to start clearing upthis mess.

Winingham sniffs and nods. Meaning Yes.

REED (contd)Does DanielSugarman know about me?

Long beat.

REED (contd)Bill? Im not going to be angry. Butif Im going to help us, I need toknow.


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WININGHAMHe said, Does anyone else know? Itold him no. But he knew I waslying. Im sorry. Im really sorry.

REED

Thats okay. Its okay. I know you hadno choice. Its okay. What did youtell him?

WININGHAMThat I know a copper whos going tosmooth things over for us if we needit. As long as nobody gets hurt. Itold him it was a deal-breaker. Nobloodshed, no violence.

REED

Did you give him my name?

WININGHAMNo. No, I didnt do that.

REEDDo you know where he is? Sugarman?

WININGHAMNo.

REEDIs there anything he asked you to do,anything that might help me find himbefore my friends do?

WININGHAMI dont know. Not really. He did askabout passports. I put him on toPatrick Holguin.

REEDThats good. Thats really good. Thatcould help.

WININGHAMWill you be okay?

REEDIts not about me, Bill. Im nothing.

Long eye contact. Something sorrowful passing between them.

REED (contd)Jessica Carrodus is dead. And Ive gotto live with that, somehow. But youhave to understand, this has grown. If

I go to prison for this, then everycase I ever convicted will bequestioned.


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All those murderers, those rapists -all those predators might get out, beback on the street. Whatever they doafter that, whoever they hurt, itllbe my fault. I cant live with that. Icant.

WININGHAMIm sorry, Ian. Do you want a drink.

Reed nods. Winingham goes to the sideboard to pour. Withterrible sorrow - Reed gathers the wire lead of a nearby lamp.Then moves with lightning speed - slips the lead roundWininghams throat - and pulls tight.

Winingham struggles - claws at the wire, kicks at Reed - butits no good -

REED(weeps)Me, too. Im sorry, Bill. Im sorry.Im so sorry. Im so sorry. Im sosorry...

EXT. ST GILES-WITHOUT-CRIPPLEGATE - DAY 14 - 13.4860 60

In the shadow of the HYPER-MODERNIST BARBICAN, ALICE approachesan ANCIENT CHURCH. She is looking forward to seeing Luther buthesitates in the churchs force field. Then enters.

INT. ST GILES-WITHOUT-CRIPPLEGATE - DAY 14 - 13.4861 61

Sitting in a pew in the otherwise empty church is John Luther.Hes toying with his wedding ring. Turning it round and round,round and round.

Alices footsteps echo as she approaches. Stops. Then joinshim.

LUTHERThanks for coming.

ALICE

How could I not? You sounded -

She cant say it. She doesnt know how.

LUTHERInteresting place. John Miltonsburied here. You know Paradise Lost?

ALICEVery well. He wrote it to Justify the

ways of God to men. But even hecouldnt do it. God emerges as a

tyrant. Satan as a hero. Where is thisleading?


REED (contd)

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LUTHERAll those things you said. About Zoe.About me. About us - all of us.Theres no love. Not really. At heart,

were deceitful and cruel. Were justmatter. I saw a lot of matter today.

All over the place. A lot of matter.

He faces her. Utterly defeated.

LUTHER (contd)You were right. Theres nothing.Theres absolutely nothing.

The scale of loss in his eyes disquiets Alice. Frightens her,even. She doesnt know what to say. In the end, she reachesout. Takes his hand.

ALICEYou do know you hurt me very badly.

LUTHERDont do this to me now. No games.Please.

ALICENo games. Listen. I did what I did toHenry Madsen because I wanted to helpyou. I put my liberty at risk becauseI couldnt bear to see you hurt. So

what I did, I did for -

A long, long beat. Eye contact.

ALICE (contd)- wholly unselfish reasons.

LUTHERI dont -

ALICEYes you do.

(looks to the bust of Milton)

The mind is its own place, and initself can make a heaven of hell, ahell of heaven. The universe isntevil, John. Its just indifferent.That hasnt changed. It cant. But

what I did for you proved something tome. Something I hadnt believed untilthat moment.

LUTHERWhat?

A long, long moment. They move closer. Eyes locked. Closer.

Until their lips are almost brushing -


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ALICEIts you who was right. There is lovein the world.

Hes looking for something to say. But it wont come. And Alicewaits there, terrified, trembling.

LUTHERAlice -

He embraces her. Wraps his arms around her.

Her eyes close.

Then he lets go, stands. Sniffs.

LUTHER (contd)Thank you. Thank you.

He strides the length of the nave. Hesitates before steppingoutside.

He leaves his WEDDING RING in the DONATIONS TIN. And then isgone.


Luther enters, energised.

LUTHERProgress on Carrodus?

RIPLEYNo activity on credit cards, mobile...

LUTHERYoull get him. Right now, I need tosee Evangelines stuff.

INT. SCU, EVIDENCE ROOM - DAY 14 - 14.2163 63

Ripley and Luther go through EVANGELINES STUFF - what she hadon her when arrested. He examines it all, piece by piece - a

London map, a half-empty pack of cigarettes, a purse.

A PASSPORT. He flicks through it. Hmmmm.

LUTHERFake. How quickly can we find who madeit?

RIPLEYBatches of forged passports tend tohave defects specific to the forger.So Benny can identify the maker pretty

quickly, assuming its the work of aknown forger. You want me to comewith?


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LUTHERNot yet. Stay on Carrodus - get thosediamonds back to evidence, save theDuchesss sanity. If I get a lead onSugarman, Ill call you.

He exits, holding the passport.

EXT. MULTI-STOREY CARPARK - DAY 14 - 14.4564 64

PATRICK HOLGUIN, PASSPORT FORGER is waiting in his car,nervously. John Luther rounds the corner and comes up to thedrivers window. He taps on the glass, the window goes down.

LUTHERPatrick, yeah?

Holguin nods.

LUTHER (contd)You can do me a passport? A decentone?

HOLGUINBest youll get.

LUTHERWhat countries?

HOLGUINDepends what you want, really. NewZealands always good.

LUTHERGood, good. I quite fancy that. Itllbe summer over there, wont it? Alllovely and green?

HOLGUINWhatever, yeah. Most probably.

Suddenly, Luther grabs him and drags him out of the car windowthen pushes him up against the car.

Shows him EVANGELINES PASSPORT - and a MUGSHOT OF SUGARMAN.

HOLGUIN (contd)Oh, not again.

LUTHERToo right, again. Now I dont have

much time so Im not going to dragthis out. How many fingers do I haveto break before - ?

HOLGUINHes staying at The Renaissance. Bighotel.


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LUTHERHowd you know that?

HOLGUINHe wanted a total of nine passportsfor three people.

LUTHERSo?

HOLGUINSo nobody buys in volume like thatexcept -

LUTHERWho?

HOLGUIN

Terrorists and whatever. You get a lotof aircrews at the Renaissance and Ithought...well, I dont want anythingto do with any of that, thank you very

much.

LUTHERSo what?

HOLGUINSo I followed him.

LUTHERYou were going to let him pay you forthe passports, then grass him up?

HOLGUINToo right. Ive got to live in thiscity, too. Ive got family.

Luther laughs, releases him. Presses a FIFTY POUND NOTE intohis fist.

LUTHERNot even forgers are honest any more.

He walks away. Hesitates. Wait a minute.

Turns.

LUTHER (contd)What did you mean, Not again?

HOLGUINA mate of yours was round my place,twenty minutes ago. Looking for thesame bloke.

(shows him the 50)He gave me three of these.


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Reed, looking at Winingham's body. Weighing up his options.

REEDAll right. Lets meet. The fountain.

LUTHER

I can be there at three oclock.

REEDJust you. No Ripley, no Teller. Just

me and you.

LUTHERNo Ripley, no Teller. Just me and you.Three oclock.

STILL INTERCUTTING -

As Reed hangs up, walks to his car. Sits behind the wheel.Thinking.

And Luther gets in to his car. Sits behind the wheel. Thinking.

Reed pulls a 9MM PISTOL from his pocket. Checks the breach.Exhales. Reaches a decision. Starts the engine. Pulls away.

Luther too starts the engine.

LUTHER (contd)Fountain my arse.

Pulls away.

EXT. THE RENAISSANCE - DAY 14 - 15.0967 67

Establishing shot of the Renaissance Hotel in to which Lutherscar pulls up. He gets out and goes into the hotel.

INT. THE RENAISSANCE, RECEPTION - DAY 14 - 15.0968 68

THE CLOCK ON THE WALL READS: 3:09. Luther enters. Pushes past aqueue of three FLIGHT ATTENDANTS and two TRAVELLERS toapproaches the Concierge. Slaps down Sugarmans photo...and his

badge.

LUTHERNo time, so no bullshit. Is this manhere?

EXT. THE RENAISSANCE HOTEL - DAY 14 - 15.1169 69

Reeds car pulls up. Reed gets out. Takes a big coat from theboot of his car: different clothes, different look. Herecognises Luthers car.

REEDOh, you lying bastard, John. You lyingbastard.


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He stands there for a moment, undecided. Grimacing, massagingthe back of his head. Then COMMITS.

INT. THE RENAISSANCE, CORRIDOR - DAY 14 - 15.1269A 69A

Luther steps into the corridor. Heads for room 343.

INT. THE RENAISSANCE, RECEPTION - DAY 14 - 15.1270 70

Reed enters. Shows the concierge his badge.

REEDWhich room?

CONCIERGE343.

Reed exits.


Luther stops outside room 343. Thinks.

INT. THE RENAISSANCE, SUGARMANS ROOM - DAY 14 - 15.1271 71

Sugarman is asleep. He SITS UP at a TINY NOISE outside - grabsfor his gun -

Pads to the door. Listening intently.

INT. THE RENAISSANCE, CORRIDOR - DAY 14 - 15.1372 72

All we see is - the door to THE ADJOINING ROOM softly closing -

INT. THE RENAISSANCE, ROOM ADJOINING SUGARMANS - DAY 14 - 15.1373 73

Luther enters - pauses to pick up a GIDEONS BIBLE FROM ABEDSIDE TABLE - then makes for the door which LINKS THIS ROOMTO SUGARMANS - using the keycard to OPEN IT -

- EVERRRRRRRR SO SLOWLY

- he steps into -

INT. THE RENAISSANCE, SUGARMANS ROOM - DAY 14 - CONTINUOUS74 74

Sugarmans room! Sugarman turns -astonished to see Luther -Luther throws the bible at him - Sugarman ducks, on instinct -Luther advances, grabs Sugarmans gun arm - rams Sugarman intothe door - winding him -

Tackles him to the floor, wrestles him into a half nelson.

LUTHER(struggling with Sugarman)

Listen to me...listen...LISTEN!(gets him in a choke hold)Someones coming here for you.


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Hell be here soon, if hes not herealready. Personally, Id be happy tolet him do what he wants. But hes myfriend and I dont want to see him inprison.So if you want to live,Daniel, you need to come with me.


Ian Reed steps into the corridor. He produces his gun.

INT. THE RENAISSANCE, SUGARMANS ROOM - DAY 14 - 15.1374B 74B

Sugarman is struggling, reaching for his fallen gun -

Luther gives up arguing. Lifts Sugarman to his feet, throws himinto the wall - furniture falls - Luther prepares to throw himthrough the OPEN DOOR to the adjoining room -

Which is when the MAIN DOOR SLAMS open.

And IAN REED ENTERS. Gun in hand.

Checks out the scene. Luther behind Sugarman, an elbow roundhis throat.

A moment of stillness. As Reed holds them at gunpoint.

LUTHERYou kill this man, thats the end ofit for you.

REEDAnd what are you going to do, John?Arrest me?

LUTHERThats not what Im talking about. Youknow that.

REEDIve known you too long, mate. I knowhow your mind works.

LUTHERThis isnt a play. Its not a tactic.

REEDDo you have any idea of the lies Ivetold for you, over the years? For allthose things you did.

LUTHERI never killed anybody.

REEDNot for lack of trying.


LUTHER (cont'd)

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LUTHERAnd it was you that stopped me. Sohere I am - returning the favour.Dont do this. No matter how much hesearned it.

Beat. Luther and Reed. Sugarman grinning. Reed sees the grin,hates it.

His eyes flick to Luthers.

REEDWhat did this turd say to you? Whatdid he say about me?

LUTHERWhat do you mean?

REEDWHAT DID HE SAY?

Sugarman, bleeding, looks from one to the other. And the lightgoes on in his eyes as he understands who Reed must be - thebent copper he heard about.

SUGARMANOh. Right. I see.

(to Reed)So you must be -

REEDShut up.

Sugarman grins.

SUGARMANShit. Whatever.

Reed shoots him in the head through the cheek. Advances. Putsone more into his arm and one more in his heart.

Luther scrabbles for Sugarmans fallen gun - grabs it - barrelfirst. Smears it with blood. Stands. Gun in hand.

A face-off between Luther and Reed.

REEDWhat did he say?

LUTHERWhat do you mean?

REEDWhat did he say?!

LUTHERI dont know what you mean! Throw me abone - Im lost, here! Youve lost me!


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Reed needs to believe this. But he cant.

LUTHER (contd)Ian, whatever this is - we can make itgo away.

REEDYou think?

LUTHERI was here to make an arrest. Sugarman

was armed. You believed my life to bein imminent danger. You tookappropriate action.

Hearing the CALM, ABSOLUTEFORGIVENESS in Luthers voice, Reedstruggles not to weep.

REEDDont say that.

LUTHERWhy not?

REEDYou dont know what Ive done!

LUTHERIm looking at it and I dont give atoss. Hes nothing.

REEDNot that! Not him!

LUTHERI dont care what youve done.

REEDThats not true.

LUTHERIt doesnt matter what it is. Wellget you through it.

REED(emotional)

Dont!

LUTHERI dont understand.

REEDI knew about the robbery, all right!?

A stunned beat.

LUTHERWhat?


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REEDI let it go ahead. For a percentage.Thats why Im here. Not for revenge.To shut his mouth. All right? Now doyou want to help?! Now do you want to

make it go away?

Long, tense beat. They do their calculations.

LUTHERDid you know about the kidnap?

REEDNo.

LUTHERThen I dont care about the rest ofit. We can still make this work.

REEDI dont believe you. Too many peopleare dead.

LUTHERWell, we cant stand here like thisall day.

REEDI didnt want any of this. I need youto believe that. I tried to make itright. I wanted it to be right.

LUTHERI know. I know that.

Terrible uncertainty on Reeds face. Wanting to believeLuther...longing to believe him...

REEDHow can I believe you? You know how

much I want to, so how can I?

LUTHER

Because you know when Im lying. Andright now, Im not lying.

Long beat. Then Luther holds the gun out to Reed. Barrel first.Leaves BLOODY FINGERPRINTS on the barrel. Warily, Reed takes it

- but keeps his own gun on Luther.

REEDThis. All this. Its not about me. IfI go to prison -


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LUTHERHalf the dirt you sent down gets afree pass. I know the calculation.Ive done it myself.

REED

So if youre lying to me - if youreplanning to send me down - itll be onyour head. All those predators out onthe streets. Itll be on your head.

LUTHERI dont care what you did. Youre notgoing to prison.

A long moment. Reeds face begins to soften. Its going to beokay.

UNTIL -

THE DOOR OPENS IN THE ADJOINING ROOM!

Instinctively, Reed FIRES - ONCE, TWICE, THREE TIMES at thedoor.

REEDYou lying bastard! I cant believe youset me up!

Luther dives into the connecting room, takes cover.

LUTHERIan, I didnt!

Reed moves, sights Luther, turns the gun on him.

REEDLIAR!

And Luther sees -

LUTHERIts just the maid! Its just THE

MAID!

Luther grabs the cowering, terrified woman, drags her to cover.

Reed lowers the gun. Draws a bead.

Knows hes fully committed now.

He ducks down. Searches Sugarmans body. Finds the DIAMONDS ina pouch round his neck. Takes them.

Sees Luthers head. Fires once. Then turns and runs.


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INT. THE RENAISSANCE, ROOM ADJOINING SUGARMANS - DAY 14 - 15.1875 75

Luther shows the maid his badge.

LUTHERDid you see him? Did you see what he

looked like?

MAIDNo! No! I didnt see him!

Good.

LUTHERWait here. Dont go into that room,youll be disturbing a crime scene. Doyou understand me?

She nods.

LUTHER (contd)Wait here.

INT. THE RENAISSANCE, SUGARMANS ROOM - DAY 14 - CONTINUOUS75A 75A

Luther enters. Quickly searches Sugarmans body for thediamonds. Not there. Finds his PHONE. Grabs that. Then runs inpursuit of Reed.

INT. THE RENAISSANCE, CORRIDOR - DAY 14 - 15.1975B 75B

INTERCUT LUTHER AND REED as they run down the twisting andturning corridors -

INT. THE RENAISSANCE, CORRIDOR 2 - DAY 14 - 15.2076 76

- so many turns, so many similar looking corridors... TillLuther stops, knows that Reed is gone. He dials on SUGARMANSPHONE.

LUTHERIan. I need you to pick up. We need tostart talking, or this is going to

take us both down. Ian?

Nothing. Luther hangs up. Curses to himself.He stops. Thinks. Thinks some more.Takes a breath. Takes outhis own phone. And dials Zoe.

INT. MARKS HOUSE, LIVING ROOM - DAY 14 - 15.2577 77

Zoe sits nursing a bottle of wine. Her mobile phone rings. Shepicks it up, sees its Luther. Doesnt need it. Not now. Setsthe phone down.


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INT. THE RENAISSANCE, CORRIDOR 2 - DAY 14 - 15.2578 78

Luther paces, on the phone.

LUTHERListen. No excuses. I know how I

behaved today. But its been a badday, a really bad day. And I just wantto - I want to leave things on abetter note, okay? You dont need to

meet me, or see me. Just call me. Whenyou get a moment.

(hears approaching sirens)Whenever you can.

He hangs up as TELLER, followed by MARTIN SCHENK walk down thecorridor towards him.

Luther sees Schenk, tries to cover his dismay. Shakes his hand.

LUTHER (contd)No offence, Martin, but what bringsyou here?

SCHENKAccording to the concierge, thesuspect showed a police I.D.

LUTHERHe flashed a fake badge - so what?

SCHENKAny suggestion of officer involvement,Detective Chief Inspector, Im afraidthat falls within my purview.

Schenk walks on. Teller and Luther exchange a glance - can thisday get any worse?

INT. THE RENAISSANCE, SUGARMANS ROOM - DAY 14 - 17.3079 79

Teller and Schenk look over the scene. Sugarmans body, thegunshot wounds. Luther hangs back.

SCHENKAnd you didnt recognise the gunman?

LUTHERNo.

A beat. Schenk and Teller look at him. Knowing something isamiss here. Not able to put their finger on it.

Schenk shows Luther a PHOTOFIT ON A LAPTOP. A face behind itthat might be Ian Reed - and might be a million other people,

too.


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SCHENKConcierge says this is the shooter.

LUTHERThats about right. He was - heavierround the face, maybe. But yeah. This

is good.

TELLEROkay. Enough. Go and get yourselfchecked out. Eat. Get some rest.

EXT. THE RENAISSANCE - NIGHT 14 - 17.3580 80

Luther walks away. Heads to his car. Dialling.

EXT. PARK - NIGHT 14 - 17.3581 81

Reed sits on a park bench. He drains the last of a half pint ofvodka. Runs his fingers through his hair.

His phone is ringing. He ignores it.

He sits back. Takes out the gun. Puts it into his mouth.

Looks at the sky. Finger on the trigger. Closes his eyes.

Cant do it.

He takes the gun away.

REEDIm sorry. Im sorry. Im sorry. Imsorry. Im sorry...

His phones rings off. Then rings again.

E/I. THE RENAISSANCE, LUTHERS CAR - NIGHT 14 - 17.3582 82

Luther in the car.

LUTHERPICK UP THE PHONE! PICK UP THE PHONE!

No answer. He hangs up. Slams the steering wheel with the heelof his hand. His frustrated, helpless rage.

INT. DIAMOND MERCHANT - NIGHT 14 - 18.1683 83

Carrodus enters again. The SAME ATTENDANT looks up.

CARRODUSYou were valuing some diamonds for me?You said to be back -

(checks watch)

About now-ish.

Ah, yes. The Merchant nods. Steps into back of shop.


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A beat. And Ripley ENTERS from back of shop. Carrying thediamonds.

Carrodus doesnt even try to run. He looks almost relieved.

Ripley steps forward, cuffs him.

RIPLEYTheyre fakes, James. Theyre goodfakes, but theyre fakes.

(turns him round, faces him)Evidence in a fraud trial. Best wecould do at short notice.

CARRODUSWhy didnt you tell me?

RIPLEY

Theyd have seen it in your eyes.

Long beat. Carrodus seeing the bitter irony.

CARRODUSJessica?

Out on Ripley's cold contempt. Unable to answer. He practicallythrows Carrodus through the door.

INT. MARKS HOUSE, LIVING ROOM - NIGHT 14 - 18.3984 84

Zoe is in the living room, listening to the HOUSE ANSWERPHONE.

MARK (ON ANSWERPHONE)Zoe, listen...it's me. I'm at Heatherand Allan's but -- look, this issilly. I'm coming home. I'm getting inthe car now and I'm coming home. It

won't take long. I'll see you soon.

The doorbell rings! She smiles -- it's Mark!She goes to the front door. Opens it. And her smile falls,because it's not Mark.

It's Ian Reed.

Zoe smiles. Then her face falls. Because its abundantly clearthat all is far from right. Reed is a mess.

ZOEIan?

REEDCan I -?

ZOEYeah, yeah of course.


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He steps over the threshold. She frowns, worried. Then shutsthe door and follows him down the hall.

INT. MARKS HOUSE, KITCHEN - NIGHT 14 - 18.3985 85

To the kitchen.

ZOETea?

REED(distracted)

Tea? Yeah, tea would be great.

ZOE(filling kettle)

So whats wrong?

REEDBad day.

ZOEFor everyone, apparently.

REEDWhat can you do?

ZOE(puts the kettle on to boil,turns to him.)

I dont know, Ian? What can I do?

REEDI need you to phone John. Ask himover.

Beat.

ZOEWhy?

REEDI just need you to do it. Please. You

cant tell him Im here.

ZOEWhy not?

REEDIts complicated.

ZOEAnd its my house. So whats going on?

REED

You ever had a day, you just wish itwould end and it never does?


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ZOEMore than my share.

REEDWell, thats today. And if you dothis, its going to help end it. So

please, please call John.

ZOEI cant.

REEDWhy not?

ZOEBecause actually, youre scaring me.

REED

I dont mean to. You know John and meare friends.

ZOESo - call him yourself.

REEDI cant. I really cant. Things havegot complicated and - yknow, thefunny thing is, I think I shouldvetrusted him. I really think Ishouldve listened to what he said.Hed have found some way to make itright.

Baffled, scared, all Zoe can do is nod, slowly. Reassuringly.

REED (contd)But he makes it difficult to trusthim. He tricks people. Ive seen it. Isee it every day. So I just need youto call him. Tell him you need totalk.

ZOE

And if I do that, what happens? Whatwill you do?

REEDTalk to him. But on my terms. Ive gotto look intohis eyes and know,absolutely know, that I can trust him.

ZOEYou can trust him. He loves you.

REED

He loves you, too. You trust him?


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ZOEI dont always like him. But I neverstopped trusting him. Never will.

He laughs at that, bitterly, knowing shes telling the truth.

ZOE (contd)Ian. I can see things arent right. Ican see youre in trouble. All I cando is this; tell you to trust him,because hes your friend and that

means a great deal to him. Because Imnot going to call him and lie to himand pretend youre not here. Im notgoing to do that.

REEDYou have to.

ZOENo I dont.

Reed produces the gun. Its the one Luther gave him - bloodyfingerprints on the barrel.

REEDDO IT!

A shocked beat. Zoe backs away. Really frightened now.

REED (contd)Get your phone.

(beat)GET. YOUR. PHONE!

She reaches for her bag. Hands trembling. Fumbles for herphone. The stuff in her bag spills all over the floor - leatherpouch, lighter, tampons.

A moment of embarrassed intimacy between them. Almost normalenough to make them laugh and pretend this isnt happening.

REED (contd)

I dont want to hurt you. I reallydont. Its not why Im here. All I

want is for you to call John. Tell himyou need to see him, ask him over.

ZOEAnd when he comes, will you bepointing that thing at him?

REEDI might have to. Just for a bit. Justso hell sit down and hear what Ive

got to say. All I want is to trusthim.


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ZOEAnd if I wont?

REEDDont make me answer that. Please,just look at me, hear what Im saying.

Dont make me answer that question.

ZOEPlease, Ian.

REEDJust do it.

She takes a quaking breath. Looks at the phone. At Reed. At thephone again.

ZOE

God help me.

She dials.

INT/EXT. CAFE - NIGHT 14 - 18.4386 86

Luther is drinking a coffee in an empty cafe. In despair. Amoment of hope when his phone rings and he sees that its -

LUTHERZoe?

INT. MARKS HOUSE, KITCHEN - NIGHT 14 - 18.4387 87

Zoe meets Reeds eye, meaning - satisfied? Reed nods, minutely.

ZOEJohn? John, can you hear me?

INT/EXT. CAFE - NIGHT 14 - 18.4388 88

Luther can hear something in her voice.

LUTHERYeah. Yeah, I can hear you. Whats up?

INTERCUT LUTHER with ZOE AND REED

ZOEIan Reed is here. Hes got a gun -

And PANDEMONIUM ERUPTS. Reed sprints forward, grabs the phone.

REEDNO!!

CUT TO:

Luther hears the SUDDEN CHAOS.


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LUTHERZoe? Zoe are you there?

CUT TO:

Reed wrenches the phone from Zoes wrist. She cries out, falls.

CUT TO:

Luther hears her scream.

LUTHER (contd)Zoe?!

And hes out the door, running. Battling the shoppers on OxfordStreet as he tries to push through -

CUT TO:

Zoe spins away from Reed. Reaches for the KITCHEN DRAWER.

REEDZoe! Dont! Dont do that!

CUT TO:

LUTHERIan, what are you doing? Leave herALONE! LEAVE HER ALONE!

CUT TO:

Zoes mobile lies on the kitchen floor. Luthers voice is tiny,lost in the midst of this chaos.

Zoe backs away from Reed, holding a kitchen knife. Reedadvances with the gun.

REEDPut it down. Put it down.

ZOEHELP!

CUT TO:

LUTHERIan, please. Stop! Leave her alone!Im begging you. Im begging you.Please!

CUT TO:

ZOECall the police! Someone call the

police!


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REEDSHUT UP! SHUT UP!

ZOEFOR GODS SAKE, Ian! JUST GO AWAY!JUST GET OUT OF MY HOUSE!

In the moment of shocked silence that follows -

Reed hears LUTHERS VOICE on Zoes dropped mobile phone.

CUT TO:

LUTHERIan, this isnt you. This is NOT YOU.Take a STEP BACK. This is NOT YOU!

CUT TO:

Reed is distracted. Just for a moment. Zoe sees her chance.

Makes a move -

Shocked, Reed sees Zoe LURCH FORWARD with a knife in her hand.Making for the door? Attacking?

He backs away, yelling - pulls the TRIGGER.

And we SLOW.

AND FADE TO SILENCE:

As ZOE FALLS.

And REED BELLOWS HIS DESPAIR.

And LUTHER CUPS HIS HANDS TO HIS MOUTH IN HELPLESS HORROR.

AND FADE TO:

A long moment of PURE WHITE SILENCE. THEN -

SMASH CUT TO:

PANDEMONIUM. Luther running for his car, yelling into thephone.

LUTHER (contd)Babe? Babe, are you there? Zoe, areyou there? Hold on! Hold on! Oh, God,hold on.

CUT TO:

Reed lifts the phone.


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REEDThis is YOUR FAULT, JOHN!

CUT TO:

LUTHER

Oh, Ian. What did you do? WHAT DID YOUDO?

CUT TO:

REEDThis is YOUR DOING!

CUT TO:

LUTHERIm going to kill you. Im going to

rip your heart out. If youve hurther...

He stops running. His legs just give way. He makes it to thecar. Just.

Leans against it, close to passing out.

LUTHER (contd)Oh, God. Oh God. Oh God. Im going tokill you. Oh please dont hurt her.Please dont.

CUT TO:

Reed stands there. Hangs up.

CUT TO:

Hearing the call terminate, Luther drops the phone and, robbedof all his strength, seems about to finally collapse.

Instead, he leaps behind the wheel of the car.

INT. LUTHERS CAR (TRAVELLING) - NIGHT 14 - 19.0589 89

Speeding towards Marks house, on the phone, the rain comingdown.

LUTHERBoss! Rose! Rose! Its John! ItsJohn, please answer! Be there! bethere!

INT. TELLERS CAR (TRAVELLING) - NIGHT 14 - 19.0590 90

Teller is driving in the rain, on the speaker-phone.

TELLERIm here. Whats wrong?


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INTERCUT TELLER and LUTHER

Hearing her voice, he almost loses it.

LUTHERIts Ian! I think hes hurt her, I

think hes really hurt her -

TELLERHurt who, John? Hurt who?

LUTHERZOE! Hes hurt Zoe! Send medics,please hurry, please, please hurry -

TELLERWell be right there.

STAY ON TELLER as she hangs up - and pulls over. She opens thedoor.

AND IAN REED GETS IN! Cold and wet, shivering. But not withcold. Not really.

Teller looks mournfully into his eyes.

TELLER (contd)You were right.

REEDPoor bastard.

TELLERPoor bastard, my arse. Poor Zoe.

And with that, shes dialling.

I/E. LUTHERS CAR, MARKS HOUSE - NIGHT 14 - 19.1091 91

Luther pulls up, sprints to the door, its ajar, he runs in -

INT. MARKS HOUSE, CORRIDOR / KITCHEN - NIGHT 14 - 19.1092 92

- runs headfirst through the house.

LUTHERZoe! Zoe, babe! ZOE!!

Finally bursts into the KITCHEN. And sees her there.

A beat.

LUTHER (contd)Oh, no. Oh no oh no oh no.

His legs weaken and go.


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LUTHER (contd)Oh no.

He goes to her. Dead. He kneels. Weeps. In agony. Doesnt knowwhat do to. There must be something! Theres always something.Always.

Not this time. Theres nothing. Absolutely nothing.

He howls in unendurable pain. Cradles her. Brushes the hairfrom her brow. Kisses her.

LUTHER (contd)Please no. Please, please, please.Please dont be true. Dont be true.Oh God, oh God, oh God, dont be true.

OUTSIDE - the EMERGENCY SERVICES ARRIVE, TWO SCREAMING POLICE

CARS WITH BLUES AND TWOS.

Only then, eviscerated by grief, does Luther notice the room.

Things have been smashed. Its not random. Its very specific.Paintings, photographs (the kitchen knife cleaned and returnedto the drawer).

And Luther SEES IT.

He stands.

OUTSIDE, POLICE OFFICERS RUSH TO THE HOUSE.

Luther abides for a heartbroken moment.

Fight? Or give in?

Give in.

No. Fight.

He makes for the back door.

EXT. MARKS HOUSE, BACK DOOR - NIGHT 14 - CONTINUOUS93 93

And runs. And runs. And runs.

END OF EPISODE


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Luther s1 Ep5