The Electra Conspiracy by Elizabeth Revill

The Electra Conspiracy

Logline

A young couple filming a bio-pic on an activist rock star get caught in the lethal crossfire between powerful competing political forces as the seek to investigate the crash that caused the singer's death.

Synopsis

British film makers Jon Curtis and Amy Wilde just want to make an entertaining documentary about Electra, a pop icon famous for her singing voice and strong opinions about capital punishment and the sale of land mines. Unfortunately for Jon and Amy, they've chosen the wrong singer at the wrong time.

The Brandenburg Sect, a secret group of top western politicians who generally get what they want, decide Electra has to go; her subversive views are too popular with the masses. The sect has already interfered once in Electra's relationship with the heir to the British throne. Now she's dating a wealthy, powerful Saudi, and Britain's heir wants her back at any price.

Security forces under the Sect's control use Manchurian Candidate-style mind control to re-program captured convicted murderers and terrorists to kill for their side on command. Triggers for these reprogrammed assassins have been set in Electra's musical recordings.

Electra is close to discovering this misuse of her musical tracks when she dies in a fiery crash. Investigations reveal a conspiracy which Amy and Jon are determined to uncover and use in their film. It is not the time to explore their growing attraction to each other - it is not the time to fall in love. They are marked people targeted by security services with their bank accounts frozen and identities stolen. In a race against the clock, can Jon and Amy alert the public to the truth before they too are eliminated? Or will the not so faceless men in black win the day?

Extract

Birchell folds up his newspaper and strides off.

Jack’s been watching from a distance. He hastily makes

his way back to the office leaving Claire sitting

staring into the distance.

INT. OFFICE

Jack’s reporting back to Max.

JACK

It was Birchell, I’m sure of it.

MAX

We’d better put tabs on Miss Williams.

See to it.

Jack goes to his desk to carry out his orders but he

stops as he sees Claire coming back in.

CLAIRE

Sorry, Max. I don’t know what came

over me. I just.... I don’t know.

Max softens his tone in an apparent effort to appear

understanding.

MAX

I do... It’s difficult to separate our

ideals from our work. We’ve all been

through it Claire. You have to realize

the work we do is for the common good.

CLAIRE

I just hate that innocents get caught

up in the mess.

MAX

We all do. It’s a necessary evil

CLAIRE

(upset)

Why? Explain to me why.

INT. MONUMENTOUS FILMS - NEXT DAY

Jon’s working on his PC. We see a flashing message

alert come up on his screen over the data he is

researching saying’ 'YOU ARE BEING WATCHED'.

JON

Amy, get over here. Look!

Amy recognises the urgency in his voice and moves

across to the PC, sees the message and looks out of the

office window. She sees the Black Van from the other

day.

Another message flashes up, 'OFFICE BUGGED, CAREFUL

WHAT YOU SAY'.

AMY

Jon our.....

She glances across at him and he puts his fingers to

his lips. She crosses to him and sees the message.

AMY (CONT’D)

Coffee’s nearly out we’ll have to put

it on the shopping list.

Jon and Amy look at each other. 'ATTACHMENTS SENT -

COPY TO DISC AND DELETE THESE FILES'.

The screen goes blank. Amy grabs a disc and hands it to

Jon.

A mail with attachments comes up and Jon downloads it

to disc.

As Amy speaks, she starts looking around the office for

the bugs. She spots the one in the light and points.

AMY (CONT’D)

I think we may need a hard copy for

proofing

JON

Good idea.

He hits the print button and the printer begins to

type.

INT. BLACK VAN

Biff’s in the back of the van with two other

technicians, ALAN and STEVE (30’s) more of Max’s

henchmen.

STEVE

They’re downloading files.

BIFF

Where from?

STEVE

Not sure, could be the Brandenburg

stuff.

BIFF

Shit! Can we stop it?

STEVE

I’ll try.

BIFF

You’d better.

He pulls a gun from his waistband.

BIFF (CONT’D)

Or we’ll have to go in.

INT. MONUMENTOUS FILMS

The printer’s SPEWING out paper which Amy is gathering.

Jon removes the disc.

AMY

(Hoping Jon understands)

Have you got rid of the cookies?

JON

(He does)

On it.

He starts deleting the attachment files as Amy checks

the window. The van’s still there.

Biff gets out with Ron. It’s clear from his hand

movement that he’s stuffing a weapon in his trouser

waistband. Both men are armed.

They run towards the building. Amy jerks her head to

the back door and fire escape.

AMY

Fancy a breather?

JON

Why not?

Jon takes the disc and grabs the sheaf of printed files

which he stuffs into his briefcase. Amy grabs her

laptop.

AMY

(Urgently)

Come on.

They can both hear the SOUND of the lift.

They OPEN the safety door which leads onto the fire

escape and secure it behind them.

The PC’s still deleting the selected files.

INT. LOBBY MONUMENTOUS FILMS

Biff calls the lift. Ron takes the stairs.

A woman worker from another office is walking down the

stairs and is pushed to one side. She SHOUTS after Ron,

“Manners!

EXT. FIRE ESCAPE

Jon and Amy are going down the fire escape as quickly

as they can. Amy’s nervous about it but necessity spurs

her on.

INT. MONUMENTOUS FILMS

The door to the office BURSTS open. Biff and Ron with

guns in view search the rooms.

Biff DIVES at the PC in an effort to halt the deletion

of files. He reaches it just as the PC completes its

task.

Ron goes to the fire escape door and OPENS it and looks

down and catches sight of Amy disappearing down the end

of the fire escape. He RADIOS immediately.

RON

The back of the building. They’re

getting away.

Biff RACES out of the office and back down the main

stairs.

Ron STARTS down the fire escape.

EXT. STREET

Amy and Jon are RUNNING down a back alley and out into

the road where they slow down amongst the many

shoppers.

They keep looking back and notice Biff and Ron rounding

a corner and pushing their way through the throng.

Jon grabs Amy’s hand and pulls her in through the

revolving doors of a hotel. He rushes her up to the

desk.

JON

Do you have a room? Any room?

The effeminate male receptionist raises one eyebrow and

looks at his female colleague as if to say 'They’re in

a hurry'.

RECEPTIONIST

We only have a suite at five hundred

pounds a night.

JON

We’ll take it.

AMY

What????

RECEPTIONIST

How would you like to pay?

Jon fumbles in his wallet and takes out the cash, which

he thrusts down. The receptionist again raises his

eyebrow as if to say, 'Money not a problem then?'

RECEPTIONIST (CONT’D)

If you could just fill out the

registration card, sir.

Jon grabs the card and pen.

JON

We’ll do it later.

He rushes towards the lift.

RECEPTIONIST

(Calling after him)

Sir, your room key.

Jon SLIDES back across the polished floor of the lobby

and snatches the key.

RECEPTIONIST (CONT’D)

I take it you haven’t any luggage?

Jon shakes his head and races after Amy. The

RECEPTIONIST turns to his female colleague.

RECEPTIONIST (CONT’D)

I wonder how she likes her eggs in the

morning? Fried or scrambled?

FEMALE COLLEAGUE

By the look of her, I’d say

fertilized.

EXT. STREET

Biff and Ron are pushing through the shoppers and

searching frantically around them.

Biff SLAPS his hands against his side in frustration.

They’ve lost them.

INT. ICA GALLERY

Claire’s walking around the gallery, pausing to reflect

on the artwork. Birchell stops behind her at the same

picture.

BIRCHELL

Don’t turn around. Keep looking at the

painting. Were you followed?

CLAIRE

I don’t think so.

BIRCHELL

But you’re not sure.

CLAIRE

Can we ever be sure?

BIRCHELL

Point taken... I’m going into the

cafe. Pick up a tray and meet me at

the counter.

Birchell walks away and heads for the ICA cafe area.

Claire peruses a couple more pictures and then follows

Birchell.

She looks around to see if she can spot anyone likely

to be following her.

INT. ICA CAFE - DAY

Birchell’s at the counter. Claire picks up a tray and

stands next to him. He places an A4 brown envelope on

her tray.

BIRCHELL

Your journalist friends may be

interested in this, as you will be.

You have to warn them. They’re marked

people now.

CLAIRE

What about you?

BIRCHELL

I know my time will come. How and

where... that’s the mystery. And you?

CLAIRE

I don’t feel too safe myself.

BIRCHELL

Good. That should keep you on your

toes.

CLAIRE

Where do you stand in all this?

BIRCHELL

Let’s just say that corruption has

moved in to destroy what were

commendable ideals. Things are now out

of control.

CLAIRE

And?

BIRCHELL

And I feel a duty to stop the rot.

You’d better leave. If you’re seen

with me....

Claire picks up the envelope. She leaves the cafe area

and moves to the front door.

Birchell picks up a coffee and pays for it, and sits at

a table looking thoughtfully ahead.

INT. HOTEL SUITE

Amy and Jon are looking through the printed papers.

They can’t believe what they’re reading.

AMY

It’s a programme to produce efficient

assassins.

JON

No consciences.

AMY

And who better than convicted killers

and terrorists?

JON

Many of the subjects used are already

dead.

AMY

Expendable. Who’s to care?

JON

Look at this.... Do you remember this

case?

AMY

Karl and Carol Stevenson. Twins.

Didn’t they murder their parents for

fun?

JON

When they were twelve years old. They

were released last year. Look at the

photos... I wonder.... If there’s some

way we scan it in to your laptop, we

can use photo enhancing techniques to

age the pictures.

AMY

Call the front desk. Order the stuff.

After all, you paid five hundred for

the suite.

EXT. THE MALL OUTSIDE ICA

Claire exits the building.

Standing on the park side is a MAN, dressed in a dark

raincoat and hat. He removes his cigarette from his

lips, throws it to one side.

His eyes narrow as he watches Claire hail a taxi. He

watches the taxi pull away. Then enters the ICA.

INT. ICA CAFE

Birchell’s finishing his coffee. He sees the man

approaching the cafe area and retreats to the cafe

counter.

He pushes his way behind the counter and runs into the

kitchen.

INT. KITCHEN

Birchell runs through the kitchen causing a stir.

He exits through the back and escapes into the street.

INT. ICA CAFE

The man swears softly as he sees Birchell disappear.

Then he heads for the front door.

INT. HOTEL SUITE

Jon and Amy have a scanner and the photos are on the

screen of Amy’s laptop. She’s using a computer

programme to age the children. When they are finished

they see Karl Goodwin’s face staring out at them.

AMY

Ahmed’s body guard...

A long look passes between them.

JON

Try the girl...

INT. BLACK VAN

ALAN

She’s using her laptop.

BIFF

Where is she?

ALAN

Got her!

SHOT OF HIS COMPUTER SCREEN WITH A MAP SHOWING A

SIGNAL. THE AREA ON THE MAP IS ENLARGED AND PINPOINTS

THE HOTEL.

BIFF

Great stuff. Let’s go.

Ron STARTS up the van.

EXT. STREET

Claire’s alighting from the cab. She looks around

before entering the multi-storey Car Park.

INT. MULTI-STOREY CAR PARK

She moves quickly to a vehicle and opens it putting an

envelope into the boot.

She gets in the car and STARTS the engine.

INT. HOTEL SUITE - NIGHT

Amy and Jon are eating the remains of a room service

meal.

AMY

Now what?

JON

It must be clear by now.

AMY

We can’t go back to the office. And we

can’t stay here.

JON

Let’s try my place.

AMY

Won’t it be watched?

Jon throws a look which says 'That I don’t know'.

There’s a KNOCK on the door. Jon and Amy look at each

other. They don’t know what to do.

Jon peers out through the spy hole and recognises the

two men who were chasing them before. He whispers.

JON

It’s them.

Looking around.

JON (CONT’D)

Now what?

The KNOCK becomes more persistent followed by a SHOUT

of 'Room Service'.

Amy picks up her laptop, now shut down and Jon picks up

the printed paper and returns it to his briefcase. He

signals Amy to the balcony and opens the French

Windows.

EXT. BALCONY

Jon throws his briefcase onto the adjoining balcony and

clambers across.

He takes Amy’s laptop from her. Amy climbs up on the

rail and looks down. She freezes.

AMY

I can’t do this....

JON

Come on...Take my hand.... don’t look

down....

She pauses. She can hear the men BANGING at the door.

JON (CONT’D)

Trust me. Please Amy, come on.

There’s the SOUND of a GUNSHOT. This spurs Amy into

action. She struggles to step across to the other

balcony.

Her foot SLIPS. She GASPS. Jon manages to haul her into

the safety of the other side.

They disappear into the suite next door.

INT. HOTEL SUITE

Biff and Ron BURST in and search the apartment.

Biff notices the swatch of net at the balcony windows

trapped in the door.

He OPENS it and looks outside.

INT. NEIGHBOURING SUITE

Amy and Jon tentatively enter the suite. As they

approach the bedroom there is a COUPLE in bed making

love, NOISILY.

MALE LOVER

Oh yeah! Give it to me baby! Yeah!

FEMALE LOVER

Oooh, mmmm, aahhh...oh.

JON

They’ll never notice.

As they pass the room Amy peeps in, fascinated by what

she sees, a most unusual position, she stops and

stares.

Jon comes back and grabs her arm.

AMY

(dumfounded)

How do they do that?

Jon rolls his eyes and drags her towards the door,

which he opens a fraction. The corridor’s clear.

They run for it. Amy nearly loses her shoe in the

process.

(MORE)

INT. MOHAMMED’S LUXURY APARTMENT

Carol’s alone in the apartment. She’s been looking at

Mohammed’s album gazing at the picture of her brother.

Carol puts down the album sadly. She steels herself,

picks up the phone and DIALS.

LACE (V.O.)

Carol?

CAROL

(quietly)

Yes, about Karl...

LACE

Sorry Carol, Karl’s dead.

CAROL

(numbly)

I know. I wanted to hear it from you.

LACE

(It’s a statement, not a

question)

You want retribution.

Electra’s SONG is played over the telephone line behind

Lace’s words.

LACE (CONT’D)

Follow these instructions.

Carol’s eyes glaze and then become alert as she

listens.

EXT. STREET OUTSIDE JON’S HOUSE

Amy and Jon are hidden in a doorway.

AMY

I don’t like it.

JON

There’s no alternative, I can access

the office PC from mine and retrieve

the data. We need to track our friend.

Besides, I need to get Rumble.

AMY

We can’t take a cat with us.

JON

Maybe not. We’ll see. Just wait in the

pub. You’ll be safe there.

JON(CONT'D)

No-one would dare attack you in public

view. Go on.

She turns to go. He catches her arm and kisses her.

The kiss becomes more urgent and passionate. He breaks

off.

JON (CONT’D)

Now go. And be careful.

Jon crosses the street, looking around all the time and

Amy moves towards ‘The Lazy Landlord’.