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AJB
February 22nd, 2005, 01:22 PM
Hey everyone, this is my first post of work on this writers forum & it's the first part of what I see as a long-running, episodic saga i'd love to publish every now and then here. I may try adapting this first effort into a novel form & post it in the fiction section. It may get a bigger audience there, though I always devised it in screenplay format as the story itself is very visual.

The premise itself was, as you'll see, inspired somewhat by the TV show Alias. However, it's not fan fiction of that show & I hope i've added enough elements of my own to make it different enough to stand as a new kind of addition to the espionage genre. I hope people don't just think it's a rubbish rip-off.

I'd really appreciate feedback from anyone on this effort & whether or not I can, fairly regularly, post subsequent episodes for your enjoyment, or indeed if anyone wants me to.

Anyway, i'll stop rabbiting & leave you to, hopefully, enjoy the story... :D

AJB
February 22nd, 2005, 01:52 PM
REFLEX

Episode One: 'Conditioned'


FADE IN:

INT. SEK'HBA BATHS. ANKARA, TURKEY - AFTERNOON

A classically designed, long-standing Turkish baths containing a large indoor pool, gym and sauna facilities, and many wealthy patrons.

Half a dozen members are all lounging around the pool, swimming and being waited on by the perspiring Turkish staff.

One of the staff clearly isn't Turkish, however, as she enters the pool area from one of the private relaxation rooms.

ELIZABETH 'LIZZIE' FRANKLIN

A beautiful young woman in her early twenties, with a strong but trim physique, clear intelligence and long, flowing blonde hair.

LIZZIE, with a hurried walk, begins making her way around the large pool, lined with marble pillars stretching up to the ceiling.

She approaches a private staff corridor, when a portly old ENGLISHMAN dressed in nothing but a bath towel stops before her.

ENGLISHMAN
Excuse me, my dear, could you possibly
direct me to the nearest sauna?.

LIZZIE doesn't respond, pre-occupied with looking behind her and getting past him.

ENGLISHMAN
You do speak English, don't you?...

The door to the private relaxation area bursts open as he speaks, from it spilling three sharp-suited, heavily perspiring INDIAN MEN.

LIZZIE turns and observes them worriedly as they scan the pool area and find her, informing one another where she is.

The ENGLISHMAN stands waiting for an answer, which LIZZIE notices.

LIZZIE
Yes, I do speak English. But, I'm
afraid I don't work here.

In a sudden movement, LIZZIE spins around and pulls out a pair of twin-barrelled guns which she aims at the INDIAN MEN.

The shocked ENGLISHMAN dives into the pool as LIZZIE fires shots at them with expert precision, while the INDIAN MEN draw machine guns.

All the patrons and staff round the pool hit the deck or dive into the pool as the INDIAN MEN return fire with a bullet barrage.

LIZZIE proceeds to fire her twin guns repeatedly as she dives aside behind one of the marble pillars, it's design churned up by the bullets.

A blistering gunfight ensues between both parties, each remaining covered as bullets fly all over the Turkish baths.

LIZZIE soon finds she's out of ammunition and confirms this with her back to a pillar being hit by richocheting gunfire.

LIZZIE
Damn it!.

Looking round to see where her enemies are, LIZZIE in a quick motion breaks her cover and runs toward them, the bullets missing her.

Vaulting off the wall nearest the INDIAN MEN, LIZZIE launches both her feet which simultaneously kick two of them aside.

Like lightning, she grabs both their machine guns and removes the gun cartridges, but stops as the third INDIAN MAN points his gun at her.

With a smile, he goes to blow her to pieces but finds he's run out of bullets. In response, LIZZIE smiles and punches him hard.

The two other INDIAN MEN then get back up and start fighting her hand-to-hand, LIZZIE showing incredible fighting skill.

She holds off and eventually bests all three of them, knocking them unconscious and throwing the final one into the pool.

As the shocked patrons watch, LIZZIE runs for the staff private corridor.


INT. STAFF CORRIDOR. SEK'HBA BATHS - AFTERNOON

The long corridor lined with staff changing rooms, recreation areas and offices is traversed by LIZZIE, running fast.

While repeatedly checking she's not being pursued, as she runs, LIZZIE proceeds to rip off the waitress disguise she's been wearing.

Underneath, she wears a black jumpsuit with tool belt where her guns were hidden, as well as a pouch with useful gadgets.

As she reaches the padlocked emergency exit door, LIZZIE discards her wig of long blonde hair, revealing attractive brown hair neatly tied back underneath.

Drawing a lockpick from her pouch, LIZZIE begins working on the padlock, only to stop when she realises she's not alone.

Out of nowhere, someone we don't see puts a gun square to her temple.

Cut to black.


EXT. LONDON, ENGLAND - MORNING

The vast capital city spreads out like a metropolis under a cloudy sky, the population of millions below going about their business.

On the Thames, the huge, futuristic MI6 headquarters building resides.


INT. COMMITTEE ROOM. MI6 THAMES HOUSE - MORN

A sprawling but largely barren committee room used by the Internal Affairs division of British intelligence for their deliberations.

A panel of MI6 bigwigs, headed by experienced agent MARCUS CARMICHAEL, sit in a line behind a long table at the far end.

A speaker phone on the table buzzes into life.

ASSISTANT
(voice) Agent Franklin is here, sir.

CARMICHAEL
Send her in, please.

A moment later, a very smartly attired LIZZIE makes her way inside and approaches a desk placed opposite facing the panel table.

It's unclear whether this is before or after events in Turkey.

LIZZIE
Good morning.

CARMICHAEL
Take a seat, Ms Franklin.

LIZZIE sits as instructed, looking awkward but determined to be there.

CARMICHAEL
For the record, could you state your
full name and position within the
agency, please?.

LIZZIE
Elizabeth Angela Franklin. I am an
operational field agent, working out
of UC-12.

CARMICHAEL nods, certain of his associates taking down the facts.

CARMICHAEL
And could you state the reason you
requested this Internal Affairs body
be called today?.

LIZZIE
Yes. Because I believe that someone
within the agency is operating against
the good of British intelligence. And
that this person...is responsible for
the death of my mother.

The committee all look a little sceptical of this as they note LIZZIE trying to keep her emotion at bay.

CARMICHAEL
Agent Franklin, the verdict regarding
the death of your mother has been ruled
as suicide.

LIZZIE
I understand that, sir. However, I have
come to believe that my mother was
murdered by the same person who is
betraying their country.

CARMICHAEL
And you are here today to give us the
name of this person?.

LIZZIE
Yes, sir. I am.

CARMICHAEL nods, looking through his notes as he sums up LIZZIE's state of mind.

She is clearly angry for reasons yet to be revealed.

CARMICHAEL
Before we hear the name you are here to
give today, we would like to know a
little something about you.

LIZZIE
About me?. Like what?...

CARMICHAEL
Like how did you become part of this
job?. This life?.

LIZZIE looks somewhat uncomfortable with raking through the past.

LIZZIE
With respect, sir, may I ask why that's
relevant?.

CARMICHAEL
It's relevant, Ms Franklin, if we are
to attribute a personal reason for the
summoning of this committee. For us to
decide if your accusations are valid,
we need to know the history, in your
own words. Your history.

Realising she has little choice, LIZZIE composes herself for the tale.

CARMICHAEL
In your own time.

As CARMICHAEL and the committee wait, LIZZIE takes a drink of the water on her desk, clears her throat, and begins.

LIZZIE
A year ago, my life was completely
different. My life was normal.


EXT. GROUNDS. UNIVERSITY OF BIRMINGHAM - DAY

A well-tended, large series of gardens with benches and recreation areas lie at the heart of the university campus outside Birmingham.

Making her way through past multiple students enjoying the sunshine from the tall campus buildings surrounding the gardens, LIZZIE carries her studying folder.

LIZZIE (v/o)
The core of my life was the degree I
was studying at Birmingham university,
a doctorate in English and History. I
would consider myself popular, had an
active social life. A promising future.
My lecturers told me as much, though
not as often as my friends.

CARMICHAEL (v/o)
Tell us about your friends.

As she approaches the heart of the gardens, LIZZIE sees her four best friends mucking about together, smiling at the sight.

LIZZIE (v/o)
My friends?. I'll tell you one thing.
I didn't know most of them as well
as I thought.


INT. STUDENT PUB. BIRMINGHAM - NIGHT

A crowded public house most often used by students, located very close to the uni campus, filled with pool tables and quiz machines.

LIZZIE watches her two male friends playing pool, with her two female friends, on sofa chairs.

LOIS CHANNING

A very attractive woman in her early twenties with jet black hair, slim athletic figure, and a quite vibrant personality.

YVETTE HALE

A woman in her early twenties who hides good looks behind a quite tomboyish dress sense and attitude, making her more like one of the lads.

LIZZIE (v/o)
My two girlfriends, Lois Channing and
Yvette Hale, couldn't be more different.
Lois is about as feminine as they come
while Yvette, well...with a bit of makeup,
she could pass as a bloke without
much difficulty. Sounds horrible, I
know, but even she'd agree. She goes
out with Dawson.

CARMICHAEL (v/o)
Dawson?.

LIZZIE (v/o)
Mark Dawson.

The view switches to show the man, playing pool with his male best friend.

MARK DAWSON

A quite unremarkable looking bloke in his mid-twenties but who carries a trim physique under a quite outrageous dress sense and confident humour.

ANTHONY 'TONY' MALONE

A handsome young man in his early twenties who dresses smart even in casual situation, heavy but strong and very laid-back.

LIZZIE (v/o)
He and Tony Malone are my best male
friends at uni. It's rare to find more
than one guy where you don't have to
worry about sexual awkwardness, but
with these two I did. I think all of
us did. Except Yvette, of course. The
five of us always hung out together,
though we did different courses.

CARMICHAEL (v/o)
But, that changed?.

LIZZIE (v/o)
Everything changed. On the day the four
of them had been planning for a while,
my twenty-first birthday celebrations.

In the pub, at a later date, we see TONY, DAWSON, LOIS and YVETTE all sitting around thinking of ideas for what to do.

None of them can seem to agree on anything.

LIZZIE (v/o)
I didn't want any real fuss making,
but friends are friends and this was
a milestone. I knew they were planning
something.

LIZZIE then approaches the group, who all hush up and focus on her far too quickly.

LOIS
Lizzie, darling, hiya!. Come and sit
down.

DAWSON
Yeah, we were just talking about...
lots of things not to do with birthdays.

YVETTE kicks him under the table, but DAWSON laughs at giving the game up.

LIZZIE
You lot are so obvious, you know that?.
I told you, I just want a few drinks
and an early night.

YVETTE
What makes you think we were talking
about you?.

LIZZIE raises an eyebrow, not dignifying it with response which YVETTE understands.

LOIS
Listen, whatever we decide you're doing
for your birthday, one thing is certain
to be on the agenda.

LIZZIE
And what's that?.

LOIS
I'm gonna get you a date if it's the
last thing I do.

LIZZIE
Lo, I've told you, I've already got a-

LOIS
Oh yeah, the mystery boyfriend. If he
does really exist, when might we be
honoured by his presence?.

LIZZIE
I might choose to unveil him at the
surprise party you're so obviously
cooking up.

All of them look away, trying to deny it, but LIZZIE is onto them and TONY nods.

TONY
You're good.

LIZZIE chuckles, as do the others, while LOIS gives him a friendly whack for the comment.

LIZZIE (v/o)
Of course, they weren't the only ones
cooking up a surprise party. My parents
had already latched on to such an
ingenious idea. It made sense for them
to combine their efforts and with a
little help from yours truly, they did.


INT. COMMITTEE ROOM. MI6 THAMES HOUSE - MORNING

The committee all take notes at what they hear, though CARMICHAEL focuses solely on LIZZIE.

CARMICHAEL
How would you describe the relationship
with your parents?.

The question darkens LIZZIE's mood, bringing back unhappier memories.

LIZZIE
Difficult.


INT. DINING ROOM. FRANKLIN HOUSEHOLD - EVENING

A very ordered dining room in quite an opulent family home, far too big for merely three people to be living in.

In the middle of the table big enough to sit twelve sits LIZZIE, picking at her food, while her elegant mother ANGELA FRANKLIN sits to her left.

LIZZIE (v/o)
I had a happy childhood. Was raised in
quite a happy home. But I was raised
largely by my mother. The father I then
believed was a travelling insurance
broker was rarely around. And as I grew
older, I realised my parents marriage
was far from a bed of roses.

The atmosphere could be cut with a knife and ANGELA is not happy.

LIZZIE sees her not eating her food and watching the empty seat opposite holding a full dinner plate, a plate for her absent husband.

LIZZIE
Perhaps he's just been held up. He has
to travel, remember?.

ANGELA
Or perhaps he's having an affair.

LIZZIE
Mum!.

ANGELA
It's times like this I think that
might not be such a bad idea.

The remark makes LIZZIE increasingly awkward, she focusing on her food.

The nearby phone then begins to ring and LIZZIE watches ANGELA only after letting it ring half a dozen times answer it.

She puts it on the speaker. It's the voice of RICHARD FRANKLIN, the father of LIZZIE.

RICHARD
Angela, Lizzie, it's me. I'm really
sorry but I won't be able to make
dinner. Something's come up at work
and I'm not going to get back tonight.
I'm sorry if you've gone to a lot of
trouble. I'll see you both soon.

The call cuts off, ANGELA switching the phone off.

LIZZIE says nothing as her mother just stares at the dinner and heads away, upset.

LIZZIE (v/o)
It had been a long time since the
three of us sat down to dinner like
a normal family. The relationship
between my parents was the only
thing in my life I would have had
differently. Everything else was
perfect. Though, to be fair, they
really did pull the stops out to make
my 21st a night to remember.


INT. FRANKLIN HOUSEHOLD - NIGHT

The birthday party for her 21st is now well underway, with dozens of family members, uni friends and school mates in attendance.

The guests all circulate, eat, drink and dance as a hired local DJ plays his tunes set out in the corner of the large but crammed house.

LIZZIE (v/o)
And let me tell you. It's a night I
will never forget.

LIZZIE, looking beautiful in a dress bought for her birthday, circulates around the house, mingling between family and friends.

She smiles as she sees LOIS chatting up the DJ, while noticing TONY, DAWSON and the other lads mucking about as YVETTE watches.

The only thing that disappoints her is seeing the distance between her parents.

RICHARD FRANKLIN

A tall, strong man in his late forties who still retains an element of handsomeness despite his years, but is a very serious man.

RICHARD stands alone with a drink by the fireplace, looking awkward and watching ANGELA, who does her best to ignore him by talking with a family member.

LIZZIE is disappointed at this, but distracted when LOIS rushes over excitedly.

LOIS
Lizzie, Lizzie!. Guess what?. I've
just been talking to the DJ and I
think I'm in love.

LIZZIE
I knew it. There's always one girl
who falls for the DJ.

LOIS
Not the DJ. His brother. His name
is Craig, and he's a fitness instructor.
You should see him!. Oh!. I've rarely
had thoughts so dirty.

LIZZIE
Is sex all you think about, Lo?.

LOIS
No. Sometimes I think of foreplay.
Anyway, birthday girl, I thought you
were gonna unveil the mystery man
tonight. So, where is he?..

LIZZIE tries not to sound too disappointed.

LIZZIE
He couldn't make it. Work.

LOIS
(Tuts) That's what you get by picking
an older man. They've got their
priorities all wrong. See you later.

LOIS heads off in her own world, leaving LIZZIE a little sad at her boyfriend's non-appearance.

She is distracted as she sees RICHARD heading out of the house, at which point ANGELA approaches.

ANGELA
Elizabeth. Are you enjoying the party?.

LIZZIE
As best I can with an absent boyfriend
and parents who can't stand being in
the same room as one another.

ANGELA
Lizzie-

LIZZIE
I mean, what is it, Mom?. What went
wrong with you two?. I can remember
when you were happy.

ANGELA
We were happy because we had you.

LIZZIE
You still do have me.

ANGELA shakes her head, clearly pining for the past.

ANGELA
It's not the same now. We're different
people. Nothing stays the same forever.
Nothing.

LIZZIE
Mum, you-

ANGELA
We're getting a divorce, Lizzie.

The announcement stuns LIZZIE, immediately upsetting her quite a lot. She heads away.

ANGELA
Wait, Lizzie!..

ANGELA can only watch as an angry and upset LIZZIE storms off outside.


INT. COMMITTEE ROOM. MI6 THAMES HOUSE - MORNING

The committee are quite riveted at the unfolding narrative.

CARMICHAEL
You went outside to confront your
father?..

LIZZIE
That was the plan. But, things didn't
turn out quite that way. Something
happened that I never would have
expected in a million years.

CARMICHAEL nods, himself increasingly gripped by LIZZIE's tale.


EXT. STREET. FRANKLIN HOUSEHOLD - NIGHT

The long street outside the family home in an attractive suburban area of the south is quiet, unlike the nearby partying residence.

LIZZIE leaves the house and observes RICHARD standing by the road having a private smoke at the top of the garden, deep in thought.

In the distance, the headlights of an approaching vehicle grow ever visible.

LIZZIE
Dad?...

RICHARD turns upon hearing the call, seeing LIZZIE head up the garden.

She stops suddenly as the approaching vehicle, a jet black transit van with tinted windows, screeches to a halt next to her father.

The van door slides open and one of three MASKED MEN in black proceeds to shoot RICHARD in the back, his body falling limp.

LIZZIE
Dad!!...

LIZZIE runs toward the van as the MASKED MEN drag RICHARD into the back, sliding the door across as the van speeds off.

Shocked and fired on adrenaline, LIZZIE proceeds to give chase, showing incredible stamina and speed as she keeps the van in sight.

It turns a corner at the top of the street so LIZZIE quickly endeavours to take a short cut between houses to head it off.


EXT. ALLEYWAY - NIGHT

She runs into a wide alleyway behind a set of houses containing a set of garages corresponding to each residence.

LIZZIE stands before the van as it speeds down the alley, watching it plough toward her, determined to stand her ground although fearful.

Only metres from hitting her, the van screeches to a halt, it's headlights blaring onto LIZZIE, who stands focused.

After a moment, the door slides open and from it steps six MASKED MEN, three from either side, all of whom are unarmed.

LIZZIE
Who are you?. What do you want with my
father?.

MASKED MAN
If you want to see your father again.
Fight us.

LIZZIE
What?!.

Suddenly, three of the MASKED MEN come at her in an attack formation, while the other three stand back and watch.

LIZZIE doesn't run but looks afraid as the first MASKED MAN goes to hit her, but on reflex she blocks his punch manoeuver.

LIZZIE (v/o)
I blocked his punch without even thinking
about it. It was as if I did it every
day. Truth was, I'd never fought anyone
before in my life. I was unprepared for
just how good a fighter I was. For the
reflexes I never knew I had.

After holding the block for several seconds in confusion, LIZZIE responds by twisting the man's arm, weakening him and then punching him out.

An outpouring of fighting skill emerges from LIZZIE as she in turn fights the remaining five MASKED MEN, taking on up to three at once.

She unleashes punches, kickboxing and a touch of martial arts as she wipes the floor with all of them, showing terrific skill.

Once all are dispatched, LIZZIE runs over to the back of the van and looks inside, seeing RICHARD slumped seemingly dead inside.

Before she can confirm this, a tranquiliser dart hits LIZZIE in the back, she spiralling round to see the shooter.

A MASKED SNIPER perches on the building above, who LIZZIE briefly catches sight of before she collapses and her vision fades.


INT. COMMITTEE ROOM - MORNING

Taking a momentary pause, LIZZIE drinks a sip of the water on her desk.

CARMICHAEL
You were shot?.

LIZZIE
With a tranquiliser. Causes instant
audio-visual and mobile paralysis. I
was out cold.

CARMICHAEL
How long for?.

LIZZIE
I had no idea. When I woke, I didn't
even know where I was. Except I wanted
to be anywhere else.


INT. INTERROGATION CELL - UNCLEAR

A near pitch-black interrogation room with no windows for natural light, illuminated only by a dim bulb hanging low from the ceiling.

LIZZIE, looking very groggy, lies on the floor looking exhausted, grubby and hungry.

LIZZIE (v/o)
The cell they put me in was dark. Near
pitch black. An unforgiving place. For
what seemed like months, I was barely
fed, deprived of sleep and ruthlessly
interrogated. About my family and my
friends. Every time, the questions would
get more personal. And the more I
refused to talk, the less food they gave
me, and the more they refused to let me
sleep.

We see LIZZIE being interrogated ruthlessly by a MASKED MAN repeated times, it never clear if it's the same one or different ones.

We see the cell door open and a MASKED MAN slide through a tray of gruel-like food LIZZIE begins ravenously eating until it makes her spew.

We see LIZZIE, increasingly looking dirtier, shabbier and groggier, begin sleeping only for a MASKED MAN to come in shouting at her.

CARMICHAEL (v/o)
How long did this go on for?.

LIZZIE (v/o)
Until I took the initiative. I had
tried asking my captors questions about
why they took me, hurt my father. I'd
tried begging them to let me go, but it
did no good. I knew the only way to
escape from this nightmare was to find
a way of escaping. And, eventually, I
did.

We see LIZZIE, mustering all the strength she has left, pulling off a set of wood panels behind the iron-clad bed in the corner.

She begins exposing natural daylight that pierces through from the outside, eventually opening a hole big enough to crawl through.


EXT. FOREST. OUTSIDE INTERROGATION CELL - DAY

The cell is part of a fortress-like cabin at the heart of a deep, near impenetrable forest somewhere in the south of England.

As she crawls out of the cell through the makeshift hatch, LIZZIE is hurt by the natural daylight she's been deprived of.

After observing her surroundings briefly, with all her strength, LIZZIE begins running into the forest, away from her captivity.

LIZZIE (v/o)
I didn't have a clue where I was, or
where I was going. All I could think to
do was run. Run for my life. I knew I
couldn't go back to what I'd just
endured. I'd have rather died. I soon
realised, there was no escape. They
were onto me.

As she runs with all the speed she can muster through the woods, LIZZIE begins to observe numerous MASKED MEN approaching from all directions.

They converge upon her position, the first MASKED MAN being attacked by LIZZIE on adrenaline, she disarming and knocking him down.

The other two MASKED MEN reach her position, but stop as LIZZIE aims the seized gun at them nervously, their comrade trapped under her foot.

LIZZIE
Stop!. Don't come any closer!!...

Shaking with fear and confusion, LIZZIE keeps the gun trained on them.

LIZZIE (v/o)
It appeared as though I had the
upper hand, but nothing could be
further from the truth. I was cold,
hungry, exhausted and confused. I'd
never even held a gun before, and it
showed. I'd never have used it. I
wouldn't have known how.

CARMICHAEL (v/o)
So, what happened next?..

LIZZIE (v/o)
What happened next, forever changed
my life.

The face off continues as LIZZIE holds the gun, not knowing what to do, but then sees the two MASKED MEN before her removing their masks.

She gasps in shock as the one on the left reveals himself as DAWSON, the one on the right revealed to be none other than TONY.

They smile at the bewildered LIZZIE.

LIZZIE
What the hell is going on?..

Below her, the masked enemy removes the mask to reveal herself as LOIS, which perhaps comes as the biggest shock to LIZZIE.

LOIS
It's over now.

Out of nowhere, a tranquiliser dart again hits LIZZIE in the back, she swirling dazed once again to visualise the shooter.

Before she collapses unconscious, LIZZIE glimpses the shooter as a fourth masked enemy, demasked to reveal himself as RICHARD, her father.


INT. COMMITTEE ROOM - MORNING

The surprise twist in the story doesn't stun the committee perhaps as it should.

CARMICHAEL
That must have come as quite a shock.
After all you went through, seeing
those closest to you were the
perpetrators.

LIZZIE
Yes, it was. It's never easy having
your entire world, what you thought was
real, turned on it's head.

CARMICHAEL nods, feeling a sense of sorrow for her ordeal, but remains professional.

CARMICHAEL
Where were you when you woke up?.

LIZZIE
Again, nowhere I recognised. It was
the opposite of where I'd just been.
Light, instead of darkness. And
staring at me the face of the man I
most wanted to see.


INT. INFIRMARY. UC-12 HEADQUARTERS - MORNING

A futuristic infirmary room where injuries are treated by an on-call doctor, a room most often used for private conference.

LIZZIE awakens lying on a comfortable infirmary bed, a suited RICHARD sitting next to her, waiting for her to rise.

Upon seeing him facing her, LIZZIE jolts back in momentary fear as her memories kick in, RICHARD calming her.

RICHARD
Lizzie, calm down!. Calm down, it's
me!. It's me...

LIZZIE
You shot me!. Why did you...why did
you shoot me?!. What's going on?!.
Where am I?!...

RICHARD
I can explain everything, Lizzie-

LIZZIE
You...you were shot!. I saw them
shoot you. I chased them, they...I
thought you were dead.

RICHARD
I'm sorry. What happened was necessary.
It was all part of the test.

LIZZIE
Test?!. What test?...what are you
talking about?.

Finally calmed and getting her bearings, LIZZIE looks around at the unfamiliar surroundings, then back at her earnest father.

LIZZIE
Who are you?...

We see RICHARD lean forward, take LIZZIE's hand, and start explaining.

LIZZIE (v/o)
He went on to explain that a week
had passed since the night of my
birthday, though it seemed much longer.
The suffering I had just endured was
a test of strength and of character.
A test to see if I was strong enough
for the life he wanted me to lead.

CARMICHAEL (v/o)
The life of a spy?.

LIZZIE (v/o)
Yes. A test he claimed I'd passed with
flying colours. I was ready to know
the truth.


INT. DINING ROOM. FRANKLIN RESIDENCE - EVENING

We go back to the night where ANGELA was angry when her husband never turned up for dinner, she and LIZZIE listening to him on the phone.


INT. MI6 BI-PLANE. OVER THE PACIFIC - EVENING

As he explains, we see RICHARD is not sitting at a desk, but is in the back of an MI6 plane putting on a skydiving suit for a mission.

LIZZIE (v/o)
My father explained that he had never
been a travelling insurance broker as
he'd led my mother and I to believe,
but that he worked as a senior officer
in MI6, British intelligence. He was a
secret agent.

Once RICHARD finishes making the apologetic call with sorrow, he puts the phone aside and places on his skydiving helmet.

The back doors of the plane open and he leaps out into the night sky, diving over the Pacific towards hostile territory on his mission.


INT. OPERATIONS CORE. UC-12 - MORNING

A huge, open-plan subterranean set of intelligence offices that contain a core of multiple linked computers at it's heart.

RICHARD leads out LIZZIE from the infirmary, showing her the inside of the covert agency, which she looks at with real awe.

LIZZIE (v/o)
He said that he was one of four MI6
agents who twenty-years ago created
the University-Cell network, a top
secret, highly covert series of twelve
espionage and counter-terrorism
recruitment agencies based at
universities across the United Kingdom,
recruiting the brightest students as
employees. Some as desk agents. Analysts.
And some as field agents. Spies.

As she observes the interior with amazement, LIZZIE then looks even more surprised when TONY, DAWSON and LOIS appear nearby.

They look pleased to see their friend, but LIZZIE doesn't know how to react.

LIZZIE (v/o)
My best friends, all but Yvette, had
been recruited on their 21st birthdays
over the past year or two. After they
had undergone the test I just had, and
passed. My father explained I was the
last, the youngest of them. The final
one to be recruited.

TONY, DAWSON and LOIS look on as RICHARD guides LIZZIE through the agency, toward a lift.

As she approaches the lift behind her father, LIZZIE looks and observes an ENIGMATIC MAN watch her with interest enter the lift.


INT. SCIENCE & TECH BUILDING. UNI CAMPUS - MORNING

The lift supposedly reserved solely for emergency goods lifting delivers both LIZZIE and RICHARD up into the campus building.

LIZZIE looks shocked at seeing where they have arrived, coming to realise what's going on as RICHARD takes her outside.


EXT. GARDENS. UNI CAMPUS - MORNING

The attractive series of gardens are full of students going about their daily routine, some just hanging round having fun.

LIZZIE looks around as if seeing everything with new eyes as RICHARD guides her to a bench.

LIZZIE (v/o)
When I was shown how UC-12 lay directly
under the university campus I'd spent
so many hours at, I realised just how
well this secret was kept. All these
students. I wondered just how many of
them knew what was right beneath them.

The father and daughter sit down on one of the benches.

RICHARD
Now you know, Lizzie. You know what
it is I've wanted to tell you for so
long. I need to know what you think.

LIZZIE
I don't know what I think. I've just
found out everything I believed was a
lie. My friends, my family. Nothing
was real.

RICHARD knows nothing he can say can make much of a difference.

LIZZIE
Does Mom know?. Is that why you're
getting a divorce?. Is this what it's
all about?...

At the mention of her mother, LIZZIE sees tears forming in RICHARD's eyes.

LIZZIE
What?. What is it, Dad?...

RICHARD
Lizzie...your mother is dead...

The announcement shocks LIZZIE, who stares at her father in disbelief.


INT. COMMITTEE ROOM - MORNING

The memory causes LIZZIE to stop in her tracks at telling the story, holding back tears at the thought of her mother.

CARMICHAEL looks a little solemn, awkward at the probing somewhat.

CARMICHAEL
I'm sorry for your loss, Agent. I can
see it still affects you.

LIZZIE nods, composing herself before continuing.

LIZZIE
He told me that during the week that
UC-12 were testing my ability to
sustain prolonged interrogation, my
mother had taken her own life while
on a business trip in Malaga. She
often travelled for her work, much
like my Dad. Though she wasn't leading
a secret life.


EXT. CEMETERY. NORTH LONDON - AFTERNOON

A large cemetery surrounding an urban church, filled with graves stretching back in some cases nearly two centuries.

In a newly dug plot, the coffin for Angela Franklin is lowered as two dozen guests, including a sombre LIZZIE and RICHARD, watch.

The VICAR from the church reads a eulogy as the coffin lowers, everyone listening while LIZZIE quietly begins to let tears flow.

Once the eulogy is complete, the VICAR invites everyone to respectfully throw a mound of earth into the grave in turn.

LIZZIE watches as the mourners do so, she being one of the first, at which point she begins walking away from the grave.

She looks back and sees RICHARD throw earth in, as the ENIGMATIC MAN she saw earlier at the agency consoles him with words.

As LIZZIE makes her way alone into the church, the ENIGMATIC MAN catches sight of her.


INT. CHURCH - AFTERNOON

A quite small but old church, now totally devoid of mourners or any employees.

LIZZIE enters and begins to approach the front, looking up at the plate glass window inscribed with a holy mural brilliantly designed.

LIZZIE (v/o)
I'm not a spiritual person. But, I
was drawn to that church. People say
they go to church when they need
answers, that God speaks to them,
helps them decide their next step. I
needed that help that day. But, it
wasn't God who spoke to me.

At that point, the ENIGMATIC MAN appears in the church and watches LIZZIE sit looking up at the window on the front pew.

LUTHER MALONE

A rather enigmatic figure in his early fifties, always well-attired. The kind of man who always plays his cards close to his chest.

LIZZIE soon realises she's not alone and turns to see MALONE behind, looking at the window.

MALONE
I haven't been in a church for a very
long time. I now realise what I've been
missing. Rarely have I seen a thing of
such beauty.

MALONE, a little creepily, looks at LIZZIE as he speaks the last line.

LIZZIE
I've seen you before. You know my
father.

MALONE
Yes, for many years. I remember when
you were born. How happy your father
was. And your mother. Her death is a
tragic loss.

LIZZIE views the man a little distrustfully as he greets her with a handshake.

MALONE
My name is Luther Malone. I'm the
director of UC-12. One of it's founders,
along with your father.

LIZZIE
Malone?. Are you Tony's father?.

MALONE
Yes. The men who created the University
Cell network were myself, your father,
and two men named Alec Dawson and
Joseph Channing.

LIZZIE
The fathers of Dawson and Lois.

MALONE nods, seeing realisation dawn on LIZZIE's face as he sits next to her.

MALONE
Richard wants you to become part of
his world. You need to know how much
of a benefit it would be for UC-12
to have you work for us. You were
born for this job.

LIZZIE
Maybe. But I'm not sure it's what I
really want. I have a degree. I'm
training for a future.

MALONE
No one says you have to give it up.
The others haven't. But they are
fullfilling the hope of their parents,
to make a difference for their country.

The words lead LIZZIE to consider this, MALONE observing her thoughts.

MALONE
It's what Angela would have wanted.

LIZZIE
She knew about what Dad does?.

MALONE
She knew. And she understood the good
that UC-12 does. I know she would
have wanted her daughter to be part of
that.

MALONE puts a reassuring hand on LIZZIE's shoulder and gets up.

MALONE
Think about it. You know where I am.

With that, MALONE leaves the church, leaves LIZZIE contemplating her future.

LIZZIE (v/o)
I didn't leave that church until it
was dark. By then, I knew what he
said was right.


INT. OPERATIONS CORE. UC-12 - DAY

The agency is busy with agents going about their work, many of whom observe the much more confident and determined LIZZIE stride through.

LIZZIE (v/o)
The next day, I went back to UC-12.
And changed my life.


INT. CEILING OFFICE. UC-12 - DAY

LIZZIE strides into the ceiling-attached office where MALONE sits at his desk.

LIZZIE
I'm in.

The announcement leads MALONE to look up at LIZZIE and smile knowingly.


INT. TRAINING AREA. UC-12 - DAY

A large training zone filled with fighting equipment, studio-like sets of hostile environments and other training tools.

LIZZIE (v/o)
What followed was three months of
intensive training in firearms,
stealth operations and multiple forms
of combat. In truth, and I still
can't explain it, much of what I was
taught I found I already knew.

We see LIZZIE learning how to fire a multitude of different weapons, from machine guns, shotguns to twin barreled firearms.

We see LIZZIE taking on several instructors in kickboxing and martial arts, becoming increasingly tougher and leaner as time goes on.

And we see LIZZIE practicing stealth tactics in rigged up scenarios, where she learns infiltration and escape methods. She becomes an expert lock-picker.

LIZZIE (v/o)
By the time the months of training were
over, I was itching to get into the
field and make use of my new skills. At
first I was assigned desk duties to
ease my passage, but it wasn't enough.
I needed to be out there making the
difference like my mother would have
wished. Six months in, my chance came.


INT. BRIEFING ROOM. UC-12 - MORNING

A fair-sized conference area lined with plasma viewscreens on it's four walls, surrounding the large oval table in the centre.

An excited LIZZIE sits at the table with TONY, DAWSON and LOIS being briefed by MALONE, all looking at intel monitors at their seats.

MALONE describes the intel and mission, using a remote control to flick through illustrative pictures all view on the monitors.

LIZZIE (v/o)
A defence contractor from Finland
was using a disc of personal depravity
to blackmail a UN official into
channelling black money into terrorist
groups. The mission was simple. I was
assigned to go in, get the disc and
get out. I welcomed it with open arms.
and so my life as a spy began...


INT. OFFICE BUILDING. HELSINKI, FINLAND - NIGHT

An open-plan, quite plain office building second floor contains numerous sub-offices that contain safes holding secure objects.

Dressed like a smart office worker with short black hair, LIZZIE now finishes breaking the code into one of these safes.

She finds the blackmail disc and removes it, talking to her comrades through an earpiece fitted out of sight in her ear.

LIZZIE
Base, this is Blackbird, I have the
disc. Ready for extraction.

DAWSON
(VOICE) Copy that, Blackbird. We're
ready for you.

At that moment, as LIZZIE closes the safe, three FINNISH MEN who are part of the crooked contractors security burst in.

They shout for LIZZIE to stop as she starts running, removing guns they start firing at her as she flees onto the open-plan floor.

Bullets fly all across the floor as LIZZIE runs toward a large window over the far end, pulling her gun as she runs.

LIZZIE shoots the window, it's glass shattering, then dives and turns while firing at the FINNISH MEN in pursuit.

They take cover as LIZZIE lands, using the moment to attach a wire from her belt to the window, part of her escape.

The FINNISH MEN begin surrounding her and fire repeatedly as LIZZIE leaps out the shattered window, absailing her way down the side of the building.

The men rush to the window and observe LIZZIE land at the bottom, severing the wire with a knife before jumping into the back of an extraction van, driven by DAWSON.

The van speeds away, the FINNISH MEN left thwarted.


INT. COMMITTEE ROOM - MORNING

The committee don't look particularly impressed at LIZZIE regailing her exploits.

CARMICHAEL
And from then on, UC-12 sent you away
on missions on a regular basis?.

LIZZIE
Practically once a week, sometimes
more than that. And the more UC-12 sent
me off to some corner of the world for
one reason or another, the better at the
job I became.

CARMICHAEL
But you still retained a life outside
of work?.

LIZZIE
I made sure I did. The degree I'm studying
for was still very important to me. And
so were my friends, despite how our
relationship had changed now I knew their
secret.

CARMICHAEL
And your boyfriend?..

LIZZIE is a little surprised CARMICHAEL remembered this fact.

CARMICHAEL
The mystery man who failed to attend
your birthday celebrations. I take it
he was still in the picture.

LIZZIE
Yes...yes, he was...

CARMICHAEL
Tell us about him.

Though not enthralled at having to do so, LIZZIE decides to press on.

LIZZIE
His name is James McCade. He's a
businessman, works in the stock market.
The job requires he spend much of his
time away from home, which means I
don't get to see him as much as I'd
like. Story of my life.

CARMICHAEL
How did the two of you meet?.

Realising there's no way back from the story now, LIZZIE continues.


INT. LIBRARY. BIRMINGHAM UNIVERSITY - AFTERNOON

A very large, multi-tier library filled with thousands of books on multiple subjects, plus a great many desks for study.

LIZZIE, looking a little younger, is clearly quite worried and flustered about some work as she looks for a list of specific books.

LIZZIE (v/o)
It was almost two years ago, I was
in my first year. Seems like an
eternity ago now. I was all in a
panic because I had an essay on 13th
century historical literature to
write for the following day and I just
couldn't find the right source material.
When I did find it, that's when James
and I bumped into each other. Literally.

Having collected up the books she needs, LIZZIE rushes out of the aisle only to collide with the man who would become her boyfriend.

JAMES McCADE

A ruggedly handsome man in his early-mid thirties, very smartly dressed and clearly intelligent, with a striking self-confidence.

LIZZIE curses to no one in particular as her books hit the floor, while JAMES is instantly on his knees helping her pick them up.

JAMES
Oh God, I'm so sorry. Here, let me
pick these up for you.

LIZZIE
No, it's alright, I'm fine-

She stops in her tracks as she properly sees him for the first time, taken by his handsomeness.

JAMES smiles at her, also a bit taken, as he gathers the books and hands them LIZZIE, who has calmed somewhat in his presence.

JAMES
You did come out that aisle like
Michael Schumacher, though.

They share a little laugh at his remark, LIZZIE a little lost for words.

JAMES
What's the big hurry?.

LIZZIE
Oh, the usual for us students. Essays.
Never enough hours in the day, you
know how it is.

JAMES
Actually, I don't. I was never
fortunate enough to go to university.
despite my educated lilt, my parents
simply couldn't afford it.

LIZZIE nods, not wanting to say anything foolish.

Clearly liking her, JAMES extends his hand which LIZZIE shakes.

JAMES
I'm James McCade.

LIZZIE
Elizabeth...Franklin. My friends call
me Lizzie.

JAMES
Would you have time for a coffee,
Lizzie?..

The offer brings a pleased smile to LIZZIE's face as she nods and heads off with JAMES.


INT. COFFEE SHOP. BIRMINGHAM - AFTERNOON

A bustling, open and friendly coffee shop at the heart of the second city, where people of all ages sitting chatting.

LIZZIE and JAMES are amongst them, perched at the window, he making her laugh heartily.

LIZZIE (v/o)
After explaining he was in the university
to see an old school friend cum lecturer
and apologising for the collision about
a hundred times, he finally got round
to asking me on a date. I said yes and
the rest is history.


INT. COMMITTEE ROOM - MORNING

The air of finality shows LIZZIE is ready to get off the subject of her personal life.

CARMICHAEL
You've been an item ever since?.

LIZZIE
Yes, though as I say I don't see him
as much as we'd both like. And sometimes
it's difficult...

CARMICHAEL
Difficult?.

LIZZIE
The toughest thing about this job is
not being able to talk about it with
the people you're closest to. I'm
lucky in that nearly all my best
friends are in the same position, but
when it comes to James...he has no
idea about my secret life. And I hate
keeping the truth from him.

CARMICHAEL nods understanding, making some notes along with the committee members.

LIZZIE
Well, that's it. You know my back-
story. You know everything there is
to know. Except events of the last
week. Events that have made me realise
someone in UC-12 is betraying the
country we put our lives on the line
to protect. The same person I believe
killed my mother.

LIZZIE's words lead CARMICHAEL to accept the time has come for the name.

CARMICHAEL
Then, by all means, give us the name
of this person.

LIZZIE
His name is Richard Franklin. My
father.

CARMICHAEL and the committee look somewhat surprised as LIZZIE sits confident in the allegation.

In reality, though, it greatly disturbs her.

CARMICHAEL
Explain to us why.


INT. BRIEFING ROOM. UC-12 - MORNING

Gathered around the oval table ready for a mission briefing are LIZZIE, TONY, DAWSON and LOIS, while RICHARD sits nearby.

As ever, MALONE sits at the head of the table conducting the briefing like a composer, using the remote to put a photo of a man on the intel monitors.

MALONE
This is Cyrus Birch, a former deep
cover MI6 operative stationed in Spain
in order to penetrate known rising
ETTA terrorist cells outside of the
Basque region. A year ago, he turned
rogue. We still don't know conclusively
why. He also went off the radar until
twelve hours ago...

MALONE puts the picture of a foreign nightclub on the monitors for all to see.

MALONE
Birch was spotted by Turkish intelligence
here, at the Fakasha nightclub in Ankara.
We believe Birch may be operating out
of this club, where he is holding some-
thing of great value which he recently
stole. Richard..

RICHARD
Three days ago, the security system
access codes for a NATO military storage
base in a mountain range just south of
Adapazari were stolen by an advanced
computer hack, despite the best efforts
of Turkish intelligence. We believe
Birch stole the codes and is intending
to sell them to a buyer, who we've so
far been unable to identify.

MALONE
Suffice to say, whoever is in receipt
of these codes has the opportunity to
attack the NATO base during the seventy-
two hour window while the codes are
still valid.

The agents nod agreement as MALONE passes out mission files to LIZZIE and DAWSON.

MALONE
Lizzie, you and Dawson will infiltrate
the club posing as revellers, locate
where Birch is storing the codes and
replace them with a false set of codes
we can track to Birch's sale. And get
out undetected.

LIZZIE
Understood.

MALONE
You leave in an hour.


INT. COMMITTEE ROOM - MORNING

The committee are now more interested since they're onto work matters, which LIZZIE detects.

CARMICHAEL
So, you left for Turkey?.

LIZZIE
(NODS) We left for Turkey.


EXT. ANKARA, TURKEY - NIGHT

The ancient, inland capital city rests under a warm night sky, casting down on itís classical building, many with a religious flavour.


INT. DANCEFLOOR. FAKASHA NIGHTCLUB - NIGHT

A pulsating dance club in the heart of the city, filled with a huge amount of revellers with startling or little clothing.

Amidst the cluttered, hot dancefloor, a very sexy LIZZIE is dancing and catching the eye of many men, in a figure hugging dress, red wig and dark glasses.

She makes out she's loving the attention, many other woman in envy of it. She is linked via earpiece to her nearby partner.

LIZZIE
Dawson, what's the status on the office?..

At a bar across the club, a smartly-dressed but ordinary-looking DAWSON is doing well at blending in, quietly having a drink.

All the while, he is watching burly Turkish SECURITY guarding the door to the upstairs managers office, just adjoining the bar.

DAWSON
The Chuckle Brothers are still outside.
Looks like they need pushing in my
direction.

At that moment, DAWSON quickly sticks his leg out as a COCKY MAN carries at tray full of drinks towards his friends.

The COCKY MAN goes arse over head, spilling most of the drinks all over him, while DAWSON tries to totally cock'a'deafen.

While the SECURITY watch, COCKY MAN gets up and starts pushing DAWSON, shouting growing expletives at him in Turkish.

DAWSON raises his hands, as if oblivious, at which point the SECURITY both head over and start questioning the irate COCKY MAN.

DAWSON
(DISCREETLY) Lizzie, it's taken care
of. Coast is clear, over.

On the dance floor, LIZZIE continues shaking her thing, as numerous men try dancing with her.

LIZZIE
Copy that. I'm on my way.

With a smile and flirtatious set of glances, LIZZIE stops dancing and passes through the men, heading off the dancefloor.

They are left pining in her wake, though other women try distracting them.

LIZZIE nears the bar where she sees DAWSON in the middle of the irate COCKY MAN and the distracted SECURITY bouncers.

She, as discreetly as possible, heads through the door and up the stairs to the office.


INT. MANAGERS OFFICE - NIGHT

A rather opulent office with a large desk in the corner, mainly filled with sofas, mini-bars, stereos and a huge television.

LIZZIE heads in and soon finds a titanium briefcase present and correct on the desk, the codes chip sealed tightly inside.

Rushing over, LIZZIE removes a PDA gadget from her small handbag and begins tuning it to swap the real and fake codes.


INT. DANCEFLOOR - NIGHT

The squabble is now coming to an end, with the SECURITY duo escorting the irate COCKY MAN and his friends out the club.

DAWSON watches them go satisfied, but then is disturbed to see CYRUS BIRCH arrive through the entrance, heading across the club.

BIRCH, flanked by three Turkish security HEAVIES, passes DAWSON and makes his way towards the office of the manager.

DAWSON
Lizzie, time to move. Birch is here
and he's heading right for you, copy?.


INT. MANAGERS OFFICE - NIGHT

The announcement concerns but doesn't totally faze LIZZIE, who keeps concentrating on swapping the real and fake codes.

LIZZIE
Understood. Nearly done.

DAWSON
(VOICE) Hurry, he's right on top of
you!..

The PDA gadget beeps as it completes it's task, downloading the fake codes onto the chip and receiving the real ones.

LIZZIE places it in her handbag and goes to head off, but is then transfixed by a photograph she sees framed on a nearby table.

She's amazed to see it's a photograph of Angela, her mother.

CARMICHAEL (v/o)
You saw a photograph?. Of your mother?.


INT. COMMITTEE ROOM - NIGHT

The slightly sceptical tone from CARMICHAEL infuriates LIZZIE a little.

LIZZIE
Yes. On the table next to Birch's desk.
It transfixed me. I was almost paralysed
with shock.

CARMICHAEL
Why would a renegade MI6 agent have a
picture of your mother in a Turkish
nightclub?..

LIZZIE
That was exactly the question that was
on my mind. And when I got back to
England, I asked the only person who
could give me the answer. My father.

CARMICHAEL stops LIZZIE, sensing she's moving on from the mission.

CARMICHAEL
What happened at the club?.

LIZZIE stops herself, realising he wants an ending to the tale he was telling.

LIZZIE
We got the codes. And we escaped.


INT. DANCEFLOOR - NIGHT

A fight has broken out on the crowded dancefloor, we seeing LIZZIE unleashing the kung-fu on the HEAVIES Birch brought with him.

Under the heat, pounding music and strobe lights, LIZZIE kickboxes and punches the men, attacking three of them at a time.

Over by the bar, DAWSON is taking on the two door SECURITY men, himself showing off excellent fighting skills.

Both fights continue until LIZZIE and DAWSON both see half a dozen more large SECURITY men pouring out from a staff area, armed.

They both run for it out the entrance, as BIRCH watches from the office with interest.


INT. OPERATIONS CORE. UC-12 - MORNING

The central operations core of the agency is busy with agents, LIZZIE amongst them heading towards where her father stands.

RICHARD consults with certain operatives under his command but moves away as he sees LIZZIE approach, wanting to talk.

RICHARD
Good job in Turkey. You did well.

LIZZIE
How was Cyrus Birch connected to Mom?.

The question only slightly surprises RICHARD, who pulls his daughter to one side.

LIZZIE waits, focused, for an answer as RICHARD is unsure how to start.

LIZZIE
I know they were, so don't try and
deny it-

RICHARD
They were having an affair. It had been
going on for a while.

LIZZIE
If you knew about it, why didn't you
ever tell me?.

RICHARD
Because it wasn't your concern. It still
isn't.

With that, RICHARD heads away leaving LIZZIE in shock, with many unanswered questions.

LIZZIE (v/o)
That was the moment when, for the first
time, I seriously began to consider the
possibility my mother didn't take her
own life. Right from when I was told, I
always had doubts. She was a strong
woman. She'd said to be plenty of times
growing up that suicide was the cowards
way out.


INT. COMMITTEE ROOM - MORNING

While strolling through memories, LIZZIE continues facing the panel at the desk.

CARMICHAEL
Did you suspect your father of murder?.

LIZZIE
Not at that point. I suspected he was
hiding something, and I had plenty of
questions. I wondered why a woman in
the middle of an affair would suddenly
kill herself. Nothing about her death
made sense from then on. In my mind,
it never had.

CARMICHAEL
So, at what moment did you make the
leap that your father was responsible
for her death?.

LIZZIE
A day or so later. When his true
loyalties dawned on me.


INT. BRIEFING ROOM. UC-12 - DAY

The senior staff, LIZZIE, LOIS, TONY, DAWSON and RICHARD, all sit around the conference table as per usual for a briefing.

MALONE walks around the table, relaying the intel to them.

LIZZIE (v/o)
The agency received intel that Birch
was planning to sell Komprama Jee
the security codes during a meet inside
a Turkish baths in Ankara. UC-12
intended to surveill the meet from afar,
but decided not to intervene. They knew
Birch would be handing over fake codes
and were quite happy to see him killed
by Jee when this was discovered.

We see MALONE finish the briefing, everyone starting to file away.

LIZZIE (v/o)
I knew though that if my hunch was
correct, and my mother really had been
murdered, Cyrus Birch was the only man
who could explain why. I knew he could
even have been the killer. Either way,
if he died, then the truth may have
died with him. I knew I had to act, to
get to him before MI6 threw him to the
wolves.

After observing an intel photo of Birch in the wake of everyone else leaving, LIZZIE exits, her decision clearly made.


INT. COMMITTEE ROOM - MORNING

The committee do not look impressed by this latest twist.

CARMICHAEL
So, you broke protocol?. You travelled
out to Ankara without authorisation?.

LIZZIE feels a little awkward at admitting such a thing to a senior officer.

LIZZIE
Yes...I did.

She sees CARMICHAEL and several other panel members make a note of this, ominously.


INT. SEK'HBA BATHS, ANKARA - DAY

The classical baths are filled with patrons, some using private hire relaxation rooms containing gym and recreation facilities.

A disguised LIZZIE enters, in her waitress get up with long blonde hair, carrying a drinks tray towards the villains.

BIRCH is there powering up a laptop, faced by KOMPRAMA JEE who is surrounded by half a dozen smart INDIAN MEN bearing machine guns.

LIZZIE (v/o)
I infiltrated the baths and witnessed
the meet between Birch and Jee. The
transfer of the codes for whatever
Birch was purchasing in return was
going ahead. My plan was to intervene
when things got ugly, extract Birch and
privately interrogate him about his
connection to my mother.

CARMICHAEL (v/o)
I take it that things didn't exactly
run to plan.

LIZZIE (v/o)
No, they certainly didn't.

After placing the drinks on the table, being careful to keep her features hidden, LIZZIE begins making her way back toward the exit.

None of the bad guys notice LIZZIE open the door but then quickly dart behind a pillar, allowing the door to shut itself.

LIZZIE remains hidden, the villains thinking her gone, discreetly watching as BIRCH fully powers up the laptop as JEE observes.

BIRCH
I'm ready to transfer the codes to
your server. Do you have a connecting
system?.

JEE clicks his fingers at a subordinate, who draws a laptop from a slimline suitcase, placing it before the one on the table.

The subordinate connects both laptops together with a wire, at which point BIRCH gets to work on accessing his codes.

LIZZIE uses tiny binoculars to zoom in on BIRCH's laptop, surprised at witnessing a download quickly taking place on the system.

LIZZIE (v/o)
I surveilled the transfer from behind
a pillar, waiting for the moment Jee
realised he'd been betrayed. I never
expected to see Birch, at last minute,
receive a download of the real NATO
codes from what I realised was an MI6
server. Someone within the agency was
working with him.

The real codes are downloaded by BIRCH from his laptop to JEE's, which the asian man observes with a satisfied nod of the head.

LIZZIE continues watching as BIRCH closes his laptop and stands before JEE, who removes an envelope from his jacket, handing it to the man.

JEE
These are the contact details for the
person you have been looking for. I
hope you know who you are dealing with.

BIRCH
I think I do. Besides, I have something
this person wants.

JEE nods curiously as BIRCH pockets the envelope, puts his laptop into a briefcase and proceeds to offer a handshake to his associate.

The hand is shook by JEE, who with the other one points a gun at BIRCH's face, to LIZZIE's shock.

JEE
I'm afraid the person you seek wishes
you dead. Now, hand over the disc.

BIRCH faces the gun barrel, realising he's cornered, as JEE goes to pull the trigger.

A bullet then hits his gun, blowing it out of JEE's hand, everyone observing LIZZIE dart out from the pillar toward the door.

As BIRCH uses the opportunity to escape through a back door, JEE and his men fire at LIZZIE as she heads out quickly through the door.

We see her head through the pool area, dispatching the INDIAN MEN as we saw earlier, before fleeing down a staff corridor.

As we saw earlier, LIZZIE starts picking the lock of a padlocked emergency exit door, stopping as a gun is aimed at her temple.

We now see it's BIRCH holding the gun, which LIZZIE also notices.

LIZZIE
Don't shoot me!. I came here to find you!.
To talk to you!..

BIRCH
Stand up.

Slowly, LIZZIE stands as BIRCH continues aiming the gun at her head.

LIZZIE
I need to ask you about my mother.

BIRCH
You're looking in the wrong place, Lizzie.

LIZZIE
How d'you know my name?.

BIRCH
Please thank Richard for his help today.
And while you're at it, ask him to tell
you the truth...

LIZZIE looks confused at the mention of her father.

LIZZIE
What truth?.

BIRCH
The truth about Reflex.

A computer disc is thrown to the floor in front of LIZZIE by BIRCH, who then proceeds to withdraw the gun and do a runner.

LIZZIE picks up the disc and observes it, wondering the significance of what she was just told.


INT. COMMITTEE ROOM - MORNING

The panel look at LIZZIE, waiting for further developments that don't come.

CARMICHAEL
What did Birch mean by what he said?.

LIZZIE
I didn't know, at that point. I
assumed that Reflex was some kind of
agency codename, but I was more
concerned about what Birch had made
me realise.

CARMICHAEL
That your father was working with him?.

LIZZIE
(NODS) That my father sent the real
NATO security codes to Birch. And the
disc he left me, was my father's
payment.

CARMICHAEL
What was on the disc?.

LIZZIE
I don't know. It was protected by a
password only someone of senior agency
clearance could access. I didn't need
to know it's contents. I already knew
everything I needed to. That my father
was a traitor, and though I can't prove
it yet, was responsible for the death of
my mother.

CARMICHAEL
Where is the disc now?.

LIZZIE
My father has it. I left it for him on
his desk last night.


INT. RICHARD'S OFFICE. UC-12 - NIGHT

The computer disc is seen to be lying on the desk in the deputy director's office just adjoining the operations core.

RICHARD enters and stops as he sees the disc he clearly recognises, sitting at his desk and inserting it into his computer.

LIZZIE (v/o)
I haven't spoken to him since I got
back from Turkey. Whatever he has to
say to me will be lies. That's why I
came to you. So my father can be
brought to account for what he's done.

We see RICHARD observe the disc open on his system, a message stating that the disc is almost completely empty.

When the contents open, RICHARD simply sees a one-line message to him from Birch it would appear, the words
'SHE WILL SOON KNOW'.

The message seems to disturb RICHARD somewhat.


INT. COMMITTEE ROOM - MORNING

Finishing the glass of water placed on her desk, LIZZIE faces the panel.

CARMICHAEL closes the file folder on his desk, as do the other panel members.

CARMICHAEL
Well, Agent Franklin, I think that's
everything covered. We're glad you've
brought this information to our attention
and rest assured, we will take appropriate
steps.

CARMICHAEL stands to leave, as do the panel.

LIZZIE
So, you'll bring him in for questioning?.
My father?.

CARMICHAEL
We will deliberate on the information
presented before us today. And we'll
get back to you in the fullness of
time.

LIZZIE goes to protest but decides against it, simply watching as CARMICHAEL leads the panel out of a back doorway.

She gets up from the desk and heads out the way she came.


INT. OPERATIONS CORE. UC-12 - MORNING

As she makes her way from the access lift, LIZZIE sees that the central core is as busy as ever with multiple employees.

LIZZIE heads toward her desk, passing the office where RICHARD now sits, both making brief eye contact with one another.

As she gets to her desk, LIZZIE observes TONY and DAWSON heading into the briefing room, LOIS then approaching her work space.

LOIS
Ah, Lizzie, you're back. Listen, Malone
just called a briefing. Seems we have
a lead on what Jee's cult are after.

LIZZIE
Is Malone angry at me for going
off like that?.

LOIS
Well, let's just say, you're not exactly
in his good books right now. Come on.

LOIS heads off toward the briefing room, LIZZIE following her a moment later.

As she reaches the door, RICHARD appears from his office.

RICHARD
Lizzie-

LIZZIE gives him an angry look and heads into the briefing, ignoring him.

RICHARD realises he's not exactly in her good books.

AJB
February 22nd, 2005, 02:02 PM
INT. BRIEFING ROOM. UC-12 - MORNING

The conference table is paced around by MALONE, who doesn't exactly look like he's having a very good day today.

LIZZIE, LOIS, TONY and DAWSON all sit round the table, observing the images that flicker one after the other on the intel screens.

MALONE
We've managed to find out what it is
that Komprama Jee and his cult are
looking to get hold of.

MALONE presses a remote control bringing up a photo of an explosive device.

MALONE
This is a two-tonne, high-yield fission
bomb that we believe is being stored
by the US military inside the NATO
base in Adapazari, for which of course
Jee now has the codes to disable the
security of.

TONY
How did he get the real codes?.

LIZZIE says nothing, but MALONE looks at her, realising she knows the truth.

MALONE
It appears the operation to switch the
real codes with our faked codes wasn't
a success as we thought. Cyrus Birch
was able to sell Jee the real codes
without our interference.

DAWSON
Where is Jee now?.

MALONE uses the remote control to bring up a photo of an island on the intel screens.

MALONE
He's on Bhakar Island, a private dwelling
in the Indian Ocean that holds a hospital
frequented by the super-wealthy and/or
the sufficiently criminal. Jee is there
under the auspices of open heart surgery,
but infact is having a pacemaker fitted
that contains the security codes
programmed inside. We believe when his
forces attack the NATO base, Jee will
transmit the codes from this pacemaker
without detection, disabling security and
allowing his people to get hold of the
fission bomb.

All the agents watch as MALONE puts two mission folders on the table, sliding one toward DAWSON, the other to LIZZIE.

She is a little surprised she's been picked for the mission.

MALONE
Lizzie, you'll be on penetration, agent
Dawson will provide backup. Mission
objective is simple. Get in, recover the
pacemaker before it's implanted inside
Jee, and get out alive. Your plane leaves in
One hour. Thank you.

On that, LOIS, DAWSON, TONY and LIZZIE all begin starting to file out.

MALONE
Lizzie, can you stay a minute please?.

LIZZIE halts, her friends watching momentarily as they head out, knowing she's in trouble.

MALONE walks around and faces his agent.

LIZZIE
If this is about me going off on-

MALONE
It is. But, I don't intend to make an
example of you. While quite obviously
I don't enjoy having my orders ignored,
I understand your reasons for breaking
agency protocol. I'd have probably done
the same in your position.

LIZZIE is a little surprised by his understanding of her actions.

MALONE
But, there are things you don't yet
realise, or understand. Things that
may lead you to question faiths that
you never thought could be broken.
like the loyalty of those closest to
you.

MALONE can tell LIZZIE understands what it is he is getting at.

MALONE
All I ask, is that when you do come to
understand, you have an open mind.

LIZZIE nods in agreement, but clearly wants to know what he means.

She can't help but feel a little creeped when MALONE takes her hands in his.

MALONE
Good luck in the Indian Ocean.


EXT. BHAKAR ISLAND, INDIAN OCEAN - EVENING

A small, beautiful island in the heart of the glistening blue ocean.

An expansive, lush private hospital lies at the heart of the island, accessible by a dockside, small driveway or helicopter landing pad.

Half a dozen Punjabi GUARDS are patrolling the hospital grounds bearing machine-gun rifles, but all look pretty bored.

In a discreet corner of the island grounds, a figure begins swimming in a scuba-camoflage suit from the ocean, reaching the dock shoreline.

Reaching cover on the shore, the figure pulls out hi-tech binoculars which get the GUARDS in it's sights, the figure pressing a button on top.

The binoculars shoot out tranquiliser darts that start silently taking out the GUARDS once the binocular sight focuses on them.

The six GUARDS all are struck by the darts, falling down knocked out, at which point the figure begins removing the camoflage suit.

It is, of course, LIZZIE. She strips to a surgeon's disguise underneath the suit, and checks the earpiece comm in her left lobe.

LIZZIE
Dawson, this is Blackbird. Perimeter
security disabled. Copy?.


INT. UC-12 BOAT, TWO MILES OFF COAST - EVENING

A surveillance boat lies anchored two miles off the Bhakar coast, powered down to avoiding garnering attention.

Inside, DAWSON is providing backup by manipulating a multitude of computer systems.

DAWSON
Copy that, Blackbird. Deactivating
internal CCTV now.

DAWSON begins working his magic on the computer systems.


EXT. BHAKAR ISLAND - EVENING

Perched at the dockside, LIZZIE ditches the camoflage suit and the gadget binoculars, waiting for the signal to go.

DAWSON (voice)
CCTV down, Blackbird. You're good
to go, over.

LIZZIE
Copy that. Penetrating now.

LIZZIE quickly begins making her way through the bushes near the driveway up to the hospital.


INT. CORRIDOR. HOSPITAL - EVENING

A rear entrance gives way to a corridor that leads into the hospital is penetrated by LIZZIE after she finishes picking the lock.

Calmly, LIZZIE makes her way down the corridor, blended in as a surgeon it would seem heading to conduct an operation in theatre.

LIZZIE
I'm in.

DAWSON (voice)
The Tech lab have supplied an identical faked
pacemaker to replace the one holding
the codes. It's in storage room twenty-
seven, a white package.

LIZZIE
On my way.

LIZZIE continues down the corridor, passing more armed GUARDS on patrol, who eye her with a little suspicion since not recognising her.

LIZZIE is not stopped however, her disguise assuring that.

She traverses the corridor containing multiple storage rooms, passing more GUARDS as she goes, finally making it to room 27.


INT. STORAGE ROOM 27. HOSPITAL - EVENING

A quite barren storage room containing a number of parcels and packages, some opened, some quite obviously untouched.

LIZZIE enters the room, closing the door behind, and begins scouring the items in the room for the package she needs.

She eventually finds the package and starts opening it up.

LIZZIE
Found it. I have the fake pacemaker.

LIZZIE removes the faked pacemaker from inside the white package, which she discards.

Pocketing the pacemaker, LIZZIE heads for the door.

DAWSON (voice)
Okay, you need to move quickly. The
real pacemaker is in a room adjoining
the operating theatre where Jee is
booked in for his operation within the
next few hours.


EXT. CORRIDOR. HOSPITAL

Leaving the storage room, LIZZIE once again begins heading down the corridors on her way towards the operating theatres.

DAWSON (voice)
The pacemaker is secured on an alarmed
pressure pad that only deactivates every
thirty seconds on the hour, during when
the guards go through a shift change.
That's your window. You have three
minutes to 9pm.

LIZZIE
I'm moving as fast as I can.

Heading up a staircase towards the theatres, LIZZIE tries not to speak loudly or clearly, knowing it could blow her cover.

One of the suspicious GUARDS notices her mumbling though and while watching her go, he begins contacting someone on radio.


INT. OPERATING THEATRE 1. HOSPITAL - EVENING

A large, futuristic and luxurious operating theatre, where a half dozen Indian SURGEONS are preparing for surgery.

KAMPRAMA JEE lies on a bed awaiting the operation, currently sedated.

He faces a door leading into the adjoining secure room.


INT. PACEMAKER ROOM. HOSPITAL - EVENING

A small secure room containing the pacemaker on a pedestal, secured on an alarmed pressure pad it's resting on.

Two GUARDS stand silently near the pedestal on guard, holding their guns tight, now watching the clock for the shift change.

Two minutes to 9pm.


INT. CORRIDOR. OUTSIDE THEATRE ROOMS - EVENING

The corridor contains multiple large operating theatres on both sides, along with small closet rooms containing equipment.

LIZZIE finds the corridor without any security as she heads for one of the small closet rooms next to the first theatre.

DAWSON (voice)
Two minutes to 9pm.

LIZZIE
Copy that.

The moment LIZZIE opens the closet door and goes to enter, a GUARD appears out of nowhere.

He starts barking at her in his native tongue, clearly demanding to see identification, but LIZZIE makes out she can't understand.


INT. CLOSET ROOM 1. HOSPITAL - EVENING

LIZZIE beckons the GUARD into the room as she plays dumb and as he enters, still barking loudly, she unleashes her skills on him.

With a punch, a knee to the groin and cannoning his head off the wall, LIZZIE knocks the GUARD out and closes the door.

She then grabs the grill of a ventilation shaft in the room and removes it, jumping up and proceeding to climb through the shaft.


INT. PACEMAKER ROOM. HOSPITAL - EVENING

The clock on the wall hits 9pm and on cue the pressure pad for the pacemaker shuts off, the GUARDS both heading out the room.

The second the door closes, LIZZIE kicks the grill off the vent high up on the wall and jumps in from the shaft above.

DAWSON (voice)
Pressure pad is down, Lizzie. Twenty-
five seconds and counting.

LIZZIE
Acknowledged.

LIZZIE reaches the pad and pulls out the fake pacemaker, keeping abreast of the time.

DAWSON (voice)
Remember, the alarm will reactivate if
it detects the weight of the pacemaker
has diminished. You need to place the
fake precisely.

LIZZIE
Don't worry, I know what I'm doing. I
am dressed as a surgeon.

Drawing out the fake pacemaker, LIZZIE prepares to in a split second replace it on the pad with the real one currently sitting there.

The time counts down as LIZZIE prepares to do it, grabbing the real pacemaker.


INT. CORRIDOR. HOSPITAL - EVENING

Along the corridor outside the multiple operating theatres, the two replacement GUARDS begin approaching the secure room.


INT. PACEMAKER ROOM. HOSPITAL - EVENING

The clock continues counting down as LIZZIE steadies herself ready to make the precise switch, building up to the moment.

DAWSON (voice)
Ten seconds, Lizzie.

LIZZIE doesn't respond, instead focuses on preparing to place the fake pacemaker immediately as she lifts the real one off the pad.

She makes the switch two seconds before the alarm would come back on, placing the fake but grabbing the real pacemaker.

LIZZIE is greatly relieved at her success, but then is disturbed as the hospital alarm begins to very loudly go off.

LIZZIE
Dawson, it's the alarm!. I've been
discovered!.

DAWSON (voice)
Multiple security teams are converging
on your position!. Get out of there,
Lizzie!.

Quickly, LIZZIE races over the door leading out to the corridor, opening and peering out to see a dozen GUARDS alerted nearby.

She sees they've discovered the GUARD she earlier knocked out in the closet room.


INT. CORRIDOR. HOSPITAL - EVENING

The GUARDS all bring their rifles to bear as they notice the suspicious young woman in the surgeon's outfit dash from the pacemaker room.

LIZZIE races down the corridor as the GUARDS pursue, firing a barrage of bullets at her position, which she manages to dodge.

Reaching the end of the corridor, LIZZIE jumps through a large stained glass window, which itself is blizkrieged by bullets.

The GUARDS all race to the shattered window and fire shots off at LIZZIE, but curse as she flees the hospital out of sight and escapes.


EXT. LONDON, ENGLAND - MORNING

The capital rests under a cloudy sky, it's multi-million population busy below.


INT. CEILING OFFICE. UC-12 HEADQUARTERS - MORNING

In his opulent office, director MALONE sits sifting through new files of intelligence, but sees someone heading up the stairs.

LIZZIE traverses the staircase and briefly knocks before entering, saying nothing as MALONE watches her arrive confidently.

She places the real pacemaker, wrapped in a cloth, on his desk and observes her boss, who opens the cloth and sees the item.

MALONE smiles pleased, at which point LIZZIE exits, her boss looking almost proud as he watches her depart the room.


INT. COMMITTEE ROOM. MI6 THAMES HOUSE - MORNING

The Internal Affairs panel sit at the long table at the far end of the committee room, facing the solitary young woman at the solitary desk before them.

LIZZIE sits listening as CARMICHAEL explains to her how the panel have deliberated and have drawn conclusions based on the evidence.

We don't hear what CARMICHAEL tells her, but by LIZZIE's expression it's clear that what she hears isn't what she wanted to.

A look of frustration, anger and finally sadness begins crossing LIZZIE's face.


EXT. ROAD. OUTSIDE MI6 THAMES HOUSE - MORNING

The busy road is filled with cars whizzing by in different directions across the Thames water to points between the capital.

Deep in thought and disappointed at what she's just heard, LIZZIE emerges from the building and begins walking down the pavement.

She walks over the bridge and stops halfway across, looking out into the water below, trying to hold back her emotions.

LIZZIE then notices someone about ten metres away standing watching her, a figure she recognises without looking at him.

The figure is, of course, RICHARD. He slowly begins to approach his daughter. She says nothing as he observes the water next to her.

It takes RICHARD a few moments before he himself gets the courage to speak.

RICHARD
When considering earlier how I could
possibly find a way of explaining
myself to you, I reminded myself of
a moment I'd almost forgotten, from a
long time ago.

Though angered at his presence, LIZZIE allows him to talk without interruption.

RICHARD
It was some after after you were born.
Your mother and I used to walk you as
a baby. Take your pram and just walk,
sometimes here along the Thames. Those
walks are some of my happiest memories.
One in particular, on a day I'd rarely
seen the sun so bright, we walked you
along the riverbank. About halfway down
we stopped and your mother went for an
ice cream. While she was gone, an old
woman came up to me and she just stared
at you, like she'd never before seen a
newborn baby. And the words she spoke
stayed with me all these years. She
said, about you,'this one will need you.
Don't fail her'.

The memory swells emotion within RICHARD and even more so within LIZZIE.

RICHARD
I realised this morning, when I learned
you had reported my actions to the
Internal Affairs panel, that I had done
what I swore on that day I would never
do. I failed you.

LIZZIE
Well, you don't have to worry. The
panel ruled they have insufficient
evidence to charge you with treason or
anything else. You're off the hook.
though I suspect you already know that.

RICHARD
If I told you I haven't been betraying
our country, would you believe me?.

LIZZIE
No. Not unless you told me what Reflex
was. The truth.

LIZZIE doesn't expect her father to provide an answer, but after a moment he does.

RICHARD
It was a project that I developed with
the three other fathers of the UC network.
Joseph Channing, Alec Dawson, and Luther
Malone. To develop in our children, from a
young age, the conditioned reflexes of a
spy. We made our progeny into what they
are today.

LIZZIE
Is that why Mom was killed?. Because she
knew about Reflex?.

RICHARD
Yes. But, I didn't kill her, Lizzie. I
loved her, despite how she betrayed me.
It was Cyrus Birch who took her life,
for reasons we'll now never know.

LIZZIE
What does that mean?.

RICHARD
He was killed. Yesterday. In Hong Kong.

Stunned and tearful about what she's been told, LIZZIE displays her confusion.


EXT. DOCKSIDE. HONG KONG - LAST NIGHT

A dark and largely desolate dockside area in the south of the metropolis, simply a few moored vessels keeping it from dereliction.

A car is parked to the left of the dock, on the bonnet of which sits a waiting CYRUS BIRCH, who checks his watch for his contact.

RICHARD (v/o)
When Birch went rogue from MI6 around
the time of your mother's death, he
stole a disc file containing top secret
Reflex data we feared he wanted to sell
to terrorist groups who would develop
their own version of the project. For a
year, Birch was underground, our intel
suggesting he'd found interest in the
disc from a contact of Komprama Jee. It
was our chance to smoke out Birch, his
contact, and the disc.

LIZZIE (v/o)
That's why you gave him the real codes?.
It was part of a bargain?.

RICHARD (v/o)
The disc he gave you was a fake, but we
knew it would be. All we needed was him
to come out from his hole. And last
night we tracked him meeting Jee's
contact in Hong Kong. I was there to
surveil the meet.

In an elevated position a fair distance away, a sniper gets BIRCH in his crosshairs, waiting to pick off his prey.

We see that sniper to be RICHARD. He's there for more than surveillance.

In his snipe sight, we see a car pull up and from it emerge a shadowed figure, unclear whether it's male or female, step out.

The contact approaches BIRCH, RICHARD lining up his shot as he sees them converse, BIRCH proceeding to extend the real Reflex disc.

LIZZIE (v/o)
And what happened?.

RICHARD (v/o)
The contact betrayed Birch. Killed him
for the file. And escaped.

We focus on RICHARD's face, hearing a gunshot sound, it unclear whether he or the mystery contact figure fired the shot.

In the distance, BIRCH lies dead and the contact picks up the Reflex disc from the floor, pocketing it as RICHARD watches.

LIZZIE (v/o)
Who was Birch's contact?.

RICHARD (v/o)
I don't know.

It's clear this is a lie though because RICHARD looks through the rifle and is disturbed to see who the contact is.

He stands up and looks to the dock, the shadowy figure stopping and looking up at him, though barely visible to each other.

RICHARD watches with a pained look as the contact gets into the car and vanishes.


EXT. ROAD. OUTSIDE MI6 THAMES HOUSE - MORNING

The description is listened to closely by LIZZIE, though she clearly has unanswered questions.

RICHARD
It was Birch who betrayed this country.
It was he who destroyed my marriage,
took away my wife, took away your mother.
And the only reason I kept this from
you, the only reason, Lizzie, was to
protect you.

LIZZIE
Does the same go for Reflex?. Taking
away the choices I could have had in
my life. Was that to protect me?. To
protect all of us?.

RICHARD
I know this will take time to under-
stand-

LIZZIE
Oh, no!. No, I understand, Dad. I know
where I stand now. And let me assure
you of one thing. I will work with you.
But, I will never...ever...trust you
again...

Holding back her tears, LIZZIE proceeds to walk off across the bridge the way she came.

RICHARD stands watching her go with the growing realisation that by revealing the truth, he may have lost his daughter.


FADE OUT:


REFLEX

Episode Two - 'The Formula' - COMING SOON